DUKE
UNIVERSITY
LIBRARY
GIFT OF
%^)??® .. UMy.^T.si ty....?re 8 8
DUKE . UNIVERSITY • PUBLICATIONS
The Frank C. Brown Collection of
NORTH CAROLINA
FOLKLORE
The FRANK C. BROWN COLLECTION of
NORTH CAROLINA
FOLKLORE
ZSh^
The Folklore of North Carolina Collected by Dr, Frank C. Brown
DURING THE YeARS 19X2 TO I943 IN COLLABORATION WITH THE NORTH CARO-
LINA Folklore Society of which he was Secretary-Treasurer 1913-1943
IN SEVEN VOLUMES
General Editor
NEWMAN IVEY WHITE
Associate Editors
HENRY M. BELDEN PAUL G. BREWSTER
WAYLAND D. HAND ARTHUR PALMER HUDSON
JAN PHILIP SCHINHAN ARCHER TAYLOR
STITH THOMPSON BARTLETT JERE WHITING
GEORGE P. WILSON
PAULL F. BAUM
Wood Engravings by
CLARE LEIGHTON
DURHAM, NORTH CAROLINA
DUKE UNIVERSITY PRESS
Volume I
GAMES AND RHYMES • BELIEFS AND CUSTOMS • RIDDLES
PROVERBS • SPEECH • TALES AND LEGENDS
Edited by
Paul G. Brewster, Archer Taylor, Bartlett Jere Whiting
George P. Wilson, Stith Thompson
Volume II
FOLK BALLADS FROM NORTH CAROLINA
Edited by
Henry M. Belden and Arthur Palmer Hudson
Volume III
FOLK SONGS FROM NORTH CAROLINA
Edited by
Henry M. Belden and Arthur Palmer Hudson
Volume IV
THE MUSIC OF THE BALLADS
Edited by
Jan Philip Schinhan
Volume V
THE MUSIC OF THE FOLK SONGS
Edited by
Jan Philip Schinhan
Volumes VI and VII
SUPERSTITIONS FROM NORTH CAROLINA
Edited by
Wayland D. Hand
COTTON CHOPPERS
The FRANK C. BROWN COLLECTION of
NORTH CAROLINA
FOLKLORE
VOLUME FIVE
THE
MUSIC
OF THE
FOLK SONGS
Edited by
JAN PHILIP SCHINHAN
DURHAM, NORTH CAROLINA
DUKE UNIVERSITY PRESS
1962
@ 1962, BY THE DUKE UNIVERSITY PRESS
Library of Congress Catalogue Card No. 57-8818
Cambridge University Press, London, N W. I, England
PRINTED IN THE UNITED STATES OF AMERICA
BY THE SEEMAN PRINTERY, INC., DURHAM, N. C.
CONTENTS
Editor's Preface
Introduction
Abbreviations Used in the Notes
xxin
XXV
xxxi
FOLK SONGS
I. COURTING SONGS
1. A Paper of Pins
2. Madam, Will You Walk?
3. The Courting Cage
7. Soldier, Soldier, Won't You Marry Me?
9. The Old Man's Courtship
10. When I Was a Young Girl
12. Madam, I Have Gold and Silver
13. One Morning in May
14. No, Sir
17. I Wouldn't Marry
19. When I Was Single
tune
page
F-i-3
3
F-4,5
5
F-6,7
6
F-8,9
8
F-io
9
F-ii
10
F-12
II
F-13-17
II
F- I 8-20
15
F-21-25
17
F-26,27
21
II. DRINK AND GAMBLING SONGS
20. The Drunkard's Hell F-28-30 23
21. The Drunkard's Doom F-31 24
22. The Drunkard's Dream (I) F-32,33 25
25. The Drunkard's Lone Child F-34 26
27. Be Home Early F-35 27
28. I Wish I Was a Single Girl Again F-36,37 28
29. Seven Long Years I've Been Married F-38-40 29
31. I'm Alone, All Alone F-41 32
32. Old Rosin the Beau F-42-44 32
33. Little Brown Jug F-45 35
36. I'll Never Get Drunk Any More F-46 35
37. Show Me the Way to Go Home, Babe F-47,48 36
38. Pickle My Bones in Alcohol F-49,50 38
40. Just Kick the Dust Over My Coffin F-51 39
41. The Hidden Still F-52 40
46. A Little More Cider Too F-53,54 41
47. Sucking Cider Through a Straw F-55 42
49. The Journeyman F-56 43
50. Jack of Diamonds F-57-59 44
51. Shoot Your Dice and Have Your Fun F-60 45
viii CONTENTS
III. HOMILETIC SONGS
TUNE PAGE
53. When Adam Was Created F-61,62 46
60. Who Is My Neighbor? F-63 47
62. The Wicked Girl F-64,65 47
64. Advice to Sinners F-66 49
IV. PLAY-PARTY AND DANCE SONGS
67. Weevily Wheat F-67,68 50
69. Jennie Jenkins F-69-71 51
70. Oh, Pretty Polly F-72 53
74. The Needle's Eye F-73 54
75. The Miller Boy F-74 54
76. In and Out the Window F-75 55
78. Coffee Grows on White Oak Trees ¥-y6,y7 55
80. Pig in the Parlor F-78 56
81. Buffalo Gals F-79,80 57
82. Old Dan Tucker F-81 59
84. Captain Jinks F-82 60
85. Hop Light, Ladies F-83 61
86. Old Joe Clark F-84-90 61
88. The Farmer's Boy F-91,92 67
89. Sally Goodin F-93-95 69
90. Doctor Jones F-96 70
91. She Loves Coffee and I Love Tea F-97 71
92. I Do Love Sugar in My Coffee O F-98 71
94. Turkey in the Straw F-99 72
96. The Dolly-Play Song F-ioo 73
98. Oh, Lovely, Come This Way F-ioi 73
99. The Duke of York F-102 74
103. Darling, You Can't Love But One F-103 74
104. Page's Train Runs So Fast F-104 75
105. Turkey Buzzard F-105,106 76
107. Too Young to Marry F-107,108 y6
108. Poor Little Kitty Puss F-109 78
109. Fare You Well, My Own True Love F-iio 78
111. Wish I Had a Needle and Thread F-i 11,112 79
V. LULLABIES AND NURSERY RHYMES
112. Bye Baby Bunting F-113,114 81
114. Kitty Alone F-i 15 81
115. HusH-A Bye, Don't You Cry F-i 16 82
116. Go TO Sleep, My Little Pickaninny F-i 17 83
117. Poor Little Lamb Cries 'Mammy!' F-i 18 84
120. The Frog's Courtship F-i 19-128 85
Appendix i. Kitchie Ki-Me-O F-129 94
Appendix 2. Kitchie Ki-Me-0 F-130 95
contents
Appendix 3. Kitchie Ki-Me-0
121. Billy Boy
122. Oh, Dear, What Can the Matter Be?
123. Taffy Was a Welshman
124. Barnyard Song
125. McDonald's Farm
128. Go Tell Aunt Patsy
129. The Fox and the Goose
130. The Old Woman and Her Pig
132. Bobdy Shaftoe
133. The Pretty Pear Tree
135. There's a Hole in the Bottom of the Sea
136. John Brown Had a Little Injun
137. Bingo
139. The Vowels
142. Old Woman All Skin and Bones
145. Whistling Girls and Crowing Hens
147. How I Love the Old Black Cat
149. The Cobbler
150. Scotland's Burning
151. Steam Ship
VL JINGLES ABOUT ANIMALS
152. Birds Courting
156. Said the Blackbird to the Crow
158. Chicken in the Bread Tray
161. Possum Up a 'Simmon Tree
162. De Raccoon Am a Cunning Thing
163. The Raccoon Has a Bushy Tail
167. Old Molly Hare (Mr. Rabbit)
172. The Weasel and the Rat
173. Mole in the Ground
175. The Old Grey Mare
178. The Old Sow
180. The Animal Fair
183. Lulu
189. Way Down Yonder in Pasquotank
192. Two Little Fleas
VII. WORK SONGS
194. Old Bob Ridley F-
196. Sheep Shell Corn by the Rattle of His Horn
203. The Old Turkey Hen
204. Run, Sallie, My Gal
209. Sally, Molly, Polly
tune
page
F-I3I
96
F-
132-135
97
F-
■136,137
99
F-I38
lOI
F-
I39-I4I
102
F-
142-144
104
F-I45
106
F-I46
107
F-I47
107
108
108
F-I48
F-I49
109
F-I50
110
no
no
F-I5I
F-
■152-154
III
F-I55
112
F-I56
113
F-I57
114
F-I58
"5
F-I59
115
F-160
117
F-161,162
117
F-163
119
F- I 64- I 66
119
F-167
121
F-168,169
122
F-170
123
F-171
124
F- 1 72, 1 73
124
F-174
126
F-175
127
F-176
128
F-177
129
F-178
130
F-179
130
80-183
131
F-184
135
F-185
135
F-186
136
F-187
136
CONTENTS
TUNE PAGE
212. Pickin' Out Cotton F-188 137
213. The Humble Farmer F-189 137
216. The Man Who Wouldn't Hoe His Corn F-190 138
2ig. The Wild Ashe Deer F-191 139
221. The Ground Hog F-192-196 140
222. I'll Fire Dis Trip F-197 143
229. Alphabet of the Ship F-198 143
230. Whip Jamboree F-199 144
231. I Have a Father in My Native Land F-200 145
233. The Heathen Chinese F-201 145
234. Working on the Railroad F-202,203 146
236. Reuben's Train F-204-206 148
239. A Southern Jack F-207 150
240. I Been a Miner F-208 151
241. Some of These Days, and It Won't Be Long F-209 151
242. I Ain't A-Gonna Work a No Mo' F-210 152
243. Roll Down Dem Bales 0' Cotton F-211 152
244. I Wish My Captain Would Go Blind F-212 153
246. Run Here, Doctor, Run Here Quick F-213 153
VIII. FOLK LYRIC
248. The Inconstant Lover
249. The Turtle-Dove
250. The Wagoner's Lad
251. SouRwooD Mountain
252. Pretty Saro
253. Old Smoky
254. Little Sparrow
255. Kitty Kline
256. All Round the Mountain, Charming Betsy
258. The False True Lover
259. I'll Hang My Harp on a Willow Tree
260. Red River Valley
263. The Pale Wildwood Flower
267. The Weeping Willow
272. I'm Tired of Living Alone
273. Will You Love Me When I'm Old ?
275. Somebody
276. You, You, You
277. Cold Mountains
278. My Home's Across the Smoky Mountains
280. Red, White, and Blue
281. Down in the Valley (Birmingham Jail)
283. In the Pines, Where the Sun Never Shines
284. Bonnie Blue Eyes
F-2I4-2I8
154
F-2I9
157
F-220-225
157
F-226-232
162
F-233-238
166
F-239-245
170
F-246-248
173
F-249-254
175
F-255-257
180
F-258-260
181
F-261,262
183
F-263-265
185
F-266-268
187
F-269,270
189
190
F-27I-274
190
F-27S,276
194
F-277
195
F-278,279
196
F-280,281
197
F-282,283
198
F-284
200
F-285-287
201
F-288-290
203
CONTENTS XI
TUNE PAGE
285. The Midnight Dew F-291 205
286. Fly Around, My Blue-Eyed Girl F-292-295 205
288. Billy My Darling F-296 208
290. Troubled in Mind F-297-299 209
292. Lonesome Road F-300 210
295. Sweet Birds F-301,302 211
298. I Wish That Girl Was Mine F-303 213
299. Cripple Creek F-304,305 213
301. High Topped Shoes F-306,307 215
302. Who's Gonna Love You, Honey? F-308 216
304. Like an Owl in the Desert F-309 216
305. The Lonesome Dove F-310 217
307. I Love Little Willie, I Do, Mamma F-311-313 217
309. Poor Married Man F-314-316 219
310. The Black-Eyed Daisy F-317 222
311. Black-Eyed Susie 223
312. A Housekeeper's Tragedy F-318 223
313. Kissing Song F-319 224
314. My Mammy Don't Love Me F-320 224
316. My Mammy Told Me F-321 225
319. The Garden Gate F-322 226
320. Susy Gal F-323 226
321. JOSEPHUS AND BoHUNKUS F-324 227
322. Leather Breeches F-325 227
324. Kindling Wood F-326 228
326. River's Up and Still A-Rising F-327 228
IX. SATIRICAL SONGS
328. The Carolina Crew F-328 229
329. Cumberland Gap F-329 229
331. Arkansas Traveler (II) F-330-333 230
335. Twenty (Forty, Sixty) Years Ago F-334,335 233
337. When Young Men Go Courting F-336,337 235
338. Johnson Boys F-338,339 237
340. The Wood Hauler 238
341. Walk in the Parlor F-340-342 238
342. Preacher in the Pulpit F-343 241
346. Jonah and the Whale F-344-346 242
347. Jesus Lover of My Soul F-347 244
349. Lord, I Never Will Come Back Here No Mo' F-348 245
X. SONGS OF PRISONERS AND TRAMPS
350. The Prisoner's Song 246
351. Seven Long Years F-349 246
358. Tale of a Tramp 247
360. The Dying Hobo F-350 247
TUNE
PAGE
F-35I
248
F-352
249
F-353
250
F-354
251
F-355
252
F-356
252
F-357
253
F-358,359
254
F-360
255
F-361
256
F-362,363
257
F-364
258
F-365,366
259
F-367,368
261
F-369,370
262
F-371
264
F-372
264
F-373
265
Xll CONTENTS
XI. MARTIAL, POLITICAL, AND PATRIOTIC SONGS
367. The Jolly Soldier
370. Then We'll Have a New Convention
372. Root Hog or Die
374. The Southern Wagon
375. Red, White, and Red
376. The Soldier's Farewell
377. Early One Morning in the Month of July
381. Pretty Peggy
382. Never Mind Your Knapsack
383. Bushwhacker's Song
386. Sorghum Molasses
390. When This Cruel War Is Over
391. The Good Old Rebel
393. Brother Green
394. He Never Came Back
395. Goodbye, My Blue Bell
400. The Sweet Sunny South
401. Blue Ridge Mountain Blues
XII. BLACKFACE MINSTREL AND NEGRO SECULAR SONGS
404. Cindy
405. Dearest Mae
406. Massa Had a Yaller Gal
408. Oh, Susanna !
409. Nancy Till
410. Miss Julie Ann Glover
411. Kitty Wells
412. Ella Rhee
413. Clare De Kitchen
415. Lynchburg Town
420. Uncle Ned
421. Way Down on the Old Pedee
423. Some Folks Say That a Nigger Won't Steal
425. The Preacher and the Bear
426. I Was Born About Ten Thousand Years Ago
427. Have a Little Banjo Beating
428. The Traveling Coon
429. The Voodoo Man
430. Ain't Gonna Rain No More
432. Boil Them Cabbage Down
433. Broder Eton Got de Coon
435. The Dummy Line
437. Eliza Jane (II)
F-374-376
267
F-377
269
F-378
270
F-379
271
F-380
272
F-381
273
F-382,383
^7Z
276
F-384,385
276
F-386-389
277
F-390,391
280
F-392
282
. F-393
282
F-394
283
> F-395
284
F-396
285
F-397
286
F-398
287
F-399-401
288
F-402
290
F-403
291
F-404
291
F-405,406
292
CONTENTS Xlll
TUNE PAGE
438. Everybody's Gal Is My Gal F-407 294
441. I'm Going Down the Road Feeling Bad F-408 297
443. I'd Rather Be Dead F-409 297
446. If You Meet a Woman in the Morning F-410 298
447. If You Don't Believe I'm Sinking F-41 1,412 298
448. I Got a Girl F-413 299
449. I'm Gwine Away to Georgia F-414,415 299
450. The Yaller Gal F-416,417 301
451. I Went Down to My Gul's House Las' Night F-418 301
454. Oh, Dat Watermilion F-419 302
457. Run, Nigger, Run F-420 303
458. Sally Went to Preachin' F-421 303
459. Saturday Night and Sunday Too F-422 304
460. She'll Be Coming 'Round the Mountain F-423 304
461. Short'nin' Bread F-424-426 305
462. Sing Polly Wolly Doodle F-427 307
463. Stick My Head in a Paper Sack F-428 308
464. That's Where My Money Goes F-429 309
465. There Was a Watermelon F-430 309
466. Train . . . Run so Fast F-431 310
467. Two Little Niggers Black as Tar F-432 310
469. Way Down Yonder on Cedar Street F-433 311
470. What You Gwina Do When de World's on Fire? F-434 311
472. Guinea Negro Song F-435,436 312
474. Cold Frosty Morning F-437 313
475. Hung My Bucket on de White Folk's Fence F-438 314
477. White Gal, Yaller Gal, Black Gal F-439-441 315
478. You Shall Be Free F-442 316
482. Sugar Babe F-443 317
485. Shady Grove F-444 318
487. Old Aunt Dinah F-445,446 319
490. Rain Come Wet Me F-447 320
493. Railroad Dinah Gal F-448 321
496. Jinger Blue F-449 321
497. Mammy in the Kitchen F-450 322
498. I've Been to the 'Bama and I Just Got Back F-451 322
499. Raise a Ruckus Tonight F-452 323
500. Georgia Buck F-453-455 323
502. Went Down Town F-456 325
503. Standin' on de Street Doin' No Harm F-457 325
504. A Thirty-two Special on a Forty-four Frame 325
507. I Got de Hezotation Stockings and de
Hezotation Shoes F-458 326
510. Share 'em F-459 326
512. Johnson's Mule F-460 327
513. The Kicking Mule F-461 328
CONTENTS
XIII. RELIGIOUS SONGS
TUNE
517. Some of These Days F-462
518. Long White Robe F-463,464
523. Creation F-465
524. Daniel in the Lion's Den F-466
526. Dark Was the Night
527. Don't You Grieve After Me F-467
529. The Gospel Train F-468
530. Hicks' Farewell F-469
534. In the Valley F-470
536. Jacob's Ladder F-47 1-473
537. Jesus Born in Bethlehem F-474
538. John Saw the Holy Number
539. John Saw de Hundred and Forty-four
Thousand
540. Johnny Was A Baptist
542. The Lone Pilgrim
543. Mary Wore Three Links of Chain
545. Pharaoh's Army
547. Rock of Ages
549. Ain't Gonna Worry My Lord No More
550. All God's Chillun Got Shoes
551. All My Sins Been Taken Away
552. Angels Roll Dem Stones Away
553. As I Went Down In the Valley to Pray F
554. Babe of Bethlehem
555. Baptist, Baptist Is My Name
557. Cain and Abel
558. Can't Cross Jordan
559. Christ Was a Weary Traveler
562. Come, Thou Fount of Every Blessing
564. Didn't It Rain? F
566. Down by De Ribberside F
569. Going to Heaven by the Light of the Moon
570. Go Down, Moses
571. Golden Slippers
572. Good News — Chariot's Comin'
576. GwiNE Down Jordan
577. Hear That Rumbling F-
579. Heaven Is a Beautiful Place
581. I Am Bound for the Promised Land
584. I Don't Love Old Satan
586. I Do Wonder Is My Mother on That Train
588. I Have Long Since Been Learned
589. I Am Standing in the Shoes of John
591. I'm Goin' to Ride in Pharaoh's Chariot
593. Indian Song: Ah, Pore Sinner
F-475
F-476
■477-479
F-480
F-481
-482-484
F-485
F-486
F-487
F-488
-489,490
F-491
F-492
F-493
F-494
F-495
F-496
-497,498
-499,500
F-501
F-502
F-503
F-504
F-505
■506-508
F-509
F-510
F-511
F-512
F-513
F-514
F-515
F-516
page
329
330
331
332
333
333
333
334
335
335
337
337
337
338
338
340
341
342
344
345
346
347
348
349
350
351
352
354
355
356
358
359
360
361
362
363
364
366
367
368
368
370
371
37^
372
CONTENTS
598. I Wanter Jine de Ban'
599. I Was Once in a Dark and Lonesome Valley
600. I Wonder As I Wander
604. John, He Baptized Jesus
605. John Jasper
607. Lily White Robe
609. Little David, Play on Your Harp
610. The Little Family F
612. Moses Smote the Waters
613. And Must I Be to Judgment Brought?
614. The New Burying Ground
616. No Hidin' Place
623. The Old Ship of Zion
624. Old Satan's Mad
627. Our Fathers, They'll Be There
628. Poor Old Lazarus
631. Roll, Jordan, Roll
632. Rough, Rocky Road
633. Shout Along and Pray Along
635. Somebody's Knocking at Your Door
636. Soon as My Foot Struck Zion
637. Standing in the Need of Prayer
640. That Old-Time Religion
641. There's a Little Wheel A-Turning
644. Tree in Paradise
647. We Are Marching On
651. We'll Sail Away to Heaven
654. Where My Lord Went to Pray
658. Cherokee Hymn
XIV. ADDITIONAL SONGS
659. I Wonder Where's the Gambling Man
660. Old Scotch Drinking Song
661. Scottish Drinking Song
662. Come All Ye Young Ladies
663. The Drunkard's Home
664. I Have No Mother Now
665. I Have No Mother Now
666. I Have No Mother Now
667. Morality
668. The Old Armchair
669. Woodman, Spare That Tree
670. Chewing Gum Song
671. Mississippi Lawyer
672. Negro Song
F-517
F-518
F-519
F-520
F-521
F-522
F-523,524
F-525
F-526
F-527,528
F-529>530
F-531-535
F-536-538
F-539
F-S40
F-541
F-542
F-543
F-544
F-545.546
F-547,548
F-549.550
F-5SI
F-552-554
F-555
F-556
F-557
673. Sally Ann
F-558
F-559
F-560
F-561
F-562
F-563
F-564
F-565
F-566
F-567
F-568
F-569
F-570
F-571
F-572
page
372
37C
373
374
375
376
377
378
379
380
380
381
383
387
389
389
390
391
392
392
393
395
397
398
399
402
402
403
404
405
406
406
407
407
408
409
410
410
411
412
412
413
414
414
CONTENTS
tune page
674. Twinkle, Twinkle, Little Star F-573 4I5
675. Lullaby F-574 4i6
676. Mr. Bull Frog F-575 417
677. RiDiN^ OF A Goat, Leadin' of a Sheep F-576 417
678. Trip, Play-Mo-Blay F-577 418
679. What Makes the Wild Cat Wild? F-578 419
680. The Keeper F-579 419
681. Venison F-580 420
682. Away on a Hill F-581 421
683. Childhood Days F-582 422
684. Enoch Arden F-583 422
685. Essie Dear F-584 423
686. Sweet Evelina F-585 424
687. Faithful Friend F-586 424
688. Flitting Away F-587 425
689. Goodbye F-588 427
690. Goodbye, John F-589 428
691. I'll Be All Smiles Tonight F-590 429
692. Lll Give You My Love F-591 430
693. I Loved You Better Than You Know F-592 430
694. In the Shadow of the Pines F-593 431
695. In the Shadow of the Pines F-594 433
696. I Want to Be Somebody's Darling F-595 434
697. Just Give Him One More as He Goes F-596 434
698. Leap Frog John F-597 435
699. The Letter That Never Came F-598 436
700. Little Bunch of Roses F-599 437
701. The Little Logwood Cabin F-600 437
702. The Little Log Cabin in the Lane F-601 439
703. LuLA Falls F-602 440
704. LuLA Wall F-603 441
705. Many Miles Apart F-604 442
706. Maple on the Hill F-605 443
707. Mary, Weep No More For Me F-606 443
708. Molly Darling F-607 444
709. Molly Darling F-608 445
710. My Hair Was Black as Ribbon F-609 446
711. My Pretty Quadroon F-610 446
712. Old and Gray F-611 447
713. The Old Stepstone F-612 448
714. Over the Garden Wall F-613 449
715. Pretty Bessie F-614 450
716. Riding in a Sleigh F-615 451
717. Rosalie, the Prairie Flower F-616 451
718. Sadie Ray F-617 452
719. Sadie Ray F-618 453
720. Seven Long Years F-619 453
contents
721. Sparking on a Sunday Nic.iit
722. Standing by the Old Cabin Door
y22y. Standing by the Old Garden Gate
724. The Stars Shine Bright
725. Sunny Tennessee
726. Sweet Bunch of Daisies
727. Sweet Forget-Me-Not
728. Sweet Long Ago
729. Singing in the Lane
730. Surely I Can Do
731. Hole in the Bucket
^2^2. Hop Along
733. I Don't Let the Girls Worry My Mind
734. Snuff Box
735. Behind Those Walls of Gray
736. Rainbow Division
737. When I Am Far Away
738. Coonshine
739. Dis Morning
740. Down at Widow Johnson's
741. GwiNE 'Round Dis Mountain
742. Hikin' Down de Main Line
743. Honey Babe
744. How I Love Them Pretty Yellow Gals
745. Hump-back Mule
746. I'm Going Down the Mobile Line
747. I'm Going Home
748. i'se a-running
749. Mike and Jerry
750. The Nigger and the Bee
751. Oh ! I Had a Good Woman
752. Old Folks Better Up and Git to Bed
753. Such a Gittin* Up-stairs
754. Yonder Come a Yaller Gal
755. Blow Gabriel
756. Drunkard's Dream
757. Dry Bones
758. Gimme Oil in My Lamp
759. Got to Cross Jordan
760. O Bear Me Away on Your Snowy White Wing
761. Oh, Where Shall I Be?
762. The Road Is Rocky
763. Star in the East
764. Storm Bird
765. Tell My Mother
766. There's a Place Prepared
767. Thorny Desert
TUNE page
F-620
454
F-62I
455
F-622
455
F-623
456
F-624
457
F-62S
458
F-626
459
F-627
460
F-628
461
F-629
462
F-630
462
F-631
464
F-632
464
F-633
465
F-634
466
F-635
467
F-636
469
F-637
469
F-638
470
F-639
471
F-640
472
F-641
472
F-642
473
F-643
473
F-644
474
F-645
475
F-646
475
F-647
477
F-648
477
F-649
478
F-650
479
F-651
479
F-652
480
F-653
481
F-654
481
F-655
482
F-656
483
F-657
484
F-658
485
F-659
485
F-660
486
F-661
487
F-662
487
F-663
488
F-664
488
F-665
489
F-666
490
CONTENTS
PAGE
768. Was You There When They Crucified Jesus?
769. The Watchman's Call
770. Way Back in Heaven
771. Wayfaring Stranger
772. When in Death I Calmly Recline
773. Wondrous Love
774. A Plea for Mercy
775. Hell Broke Loose in Georgia
-/jd. Goodbye to the Cracking of the Pistols
yyj. Jimmie Suttonton
778. Blow the Man Down
779. Hanging Johnnie
780. Haul Away, Joe
781. Hullabaloo Balay
782. Lanky, Lucy, Lister
783. What Shall We Do with a Drunken Sailor?
784. When Johnnie Comes Down to Hilo
785. Whiskey Johnny
786. No title
F-667
491
F-668
491
F-669
492
F-670
493
F-671
494
F-672
495
F-673
496
F-674
496
F-675
497
F-676
498
F-677
499
F-678
499
F-679
500
F-680
501
F-681
501
F-682
502
F-683
502
F-684
503
F-68S
504
CHILDREN'S GAMES AND RHYMES
BATTLE GAMES
Yankee Soldiers
G-i
507
DRAMATIC GAMES
Jennie Jones
Old Witch
Lazy Mary
Lady in the Dining Room
Green Gravel
G-2
508
G-3
508
G-4
509
G-5
509
G-6
510
FORFEIT OR PENALTY GAMES
Twelve Days of Christmas
Miss Susanna Jane
G-7
511
5"
GAMES OF CHASE
Chase the Squirrel
G-8
512
IMITATIVE GAMES
When I Was a Young Girl
G-9 513
CONTENTS
tune page
Green Trees Bending G-io 513
Oats and Bkans and Barley G-11-13 514
COURTSHIP AND MARRIAGE GAMES
Ranchy, Tanchy, Teen G-14 516
Hog Drovers G-15-18 517
Skip to My Lou G-ig 520
Weevily Wheat G-20 521
Nuts in May G-21 521
The Jolly Miller G-22 522
King William Was King James's Son G-23 522
King William Was King George's Son G-24 523
Marching to Quebec G-25 524
Marching Round the Levee G-26 524
Quaker Courtship G-27 525
Green Leaves G-28-30 525
It Rains and It Hails G-31, 32 527
Rig-A-Jig G.33 528
Little Sally Waters G-34,35 529
Go Round the Mountain G-36 530
Little Sissy G-37 531
TUG OF WAR GAMES
London Bridge G-38, 39 532
Draw a Bucket of Water G-40, 41 533
GAMES OF SMALLER CHILDREN
Frog in the Middle G-42 535
Farmer in the Dell G-43, 44 535
Ring Around the Rosy G-45 536
DANCING GAMES
Bingo G.46 537
Going Down the Railroad G-47 537
Looby Loo G-48 538
MISCELLANEOUS GAMES
Happy Land G-49 539
TEASING RHYMES
Oh, Dear Doctor G-50 540
CONTENTS
DERISIVE RHYMES
TUNE PAGE
Nigger, Nigger Never Die G-51 541
LULLABIES
Baa, Baa, Black Sheep 542
RECITATIONS
Old Raccoon G-52 543
MISCELLANEOUS RHYMES
Granny, Will Your Dog Bite? 544
A Parody G-53 544
Rain Come Wet Me 544
. Run, Nigger, Run 544
Go Tell Aunt Rhoda 544
ADDITIONAL GAME SONGS
All Around the Ring G-54 545
Flute Song G-55 545
Here We Go in a Ring G-56 546
Mary's Mad G-57 546
Miss Lucy G-58 547
Peas in the Pot, Hoe Cake A-Bakin' G-59 547
Roll G-60 548
Steal Away G-61 548
Shoe My Love G-62 549
Tooney O G-63 549
True Love G-54 55°
Wind That Ball G-65 550
Yes, Ma'am G-66 551
Appendix A: Musical Analyses of the
Folk Songs and Games 555
Appendix B : Scales of the Folk Songs and Games 568
Index of Singers 615
Index of Titles and Variant Titles 618
Index of First Lines 627
ILLUSTRATIONS
Cotton Choppers frontispiece
Weeding the Tobacco Seedbed facing page 152
Mountain Haystacks facing page 366
PREFACE
\X7ITH all the influence of phonograph, radio and television even on
^ ' the most remote rural communities, the soil and the conditions from
which folk music sprang have rapidly been changing. What we should
like to think of as folk song, a humble, homely expression of shared ex-
perience and emotion, has certainly undergone considerable changes. But
we also have changed and it is more and more evident that in classical
music as in the otlier creative arts we cannot hope to recover the attitude
of the generation from which it sprang. The same, of course, is true of
folk music, but we can love it nonetheless.
Today, more than ever before, we are aware of the need of under-
standing other peoples and cultures as well as our own. We come closer
to our progenitors when we become familiar with stories they made up,
the songs they created and sang. Stephen Vincent Benet, who has given
us many a story based on folklore, wrote once: "It's always seemed to
me that legends and yarns and folktales are as much a part of the real
history of a country as proclamations, and provisos and constitutional
amendments. . . . they tell a good deal about what people admire and want,
about what sort of people they are."
Folk song keeps on flowing from the minds of the people. As the
primitive wall paintings in the caves near Altamira in Spain and others
in southern France, folk song was the fulfilment of a human need for
expression, so we find that the unlettered and the untraveled have not
only the desire but also the ability and imagination to express themselves
through whatever means seem appropriate to the idea or emotion.
As Wiora has abundantly shown in his Europdische Volksmusik,
folk song, like other creative efforts of the folk, is not the work of wholly
untrained minds, nor is it, as some have thought, merely "gesunkenes
Kulturgut."^
The quatrain so common in English ballads, finds its counterpart in
musical forms, particularly our Reprisenbar ; and if we remember the
dominating influence of the Roman Church from its beginning upon the
life of the people, we shall not wonder that the musical idiom of the
Chant heard day after day also became a part of the musical vocabulary
of the people.
The appreciation of the importance and value of popular lore has a
long history. Charlemagne, at the beginning of the ninth century, ordered
a collection of folkloristic material, but Pope Leo III, who crowned his
benefactor as emperor in 800, after Charlemagne had subdued the Roman
insurrection, insisted upon the destruction of all such material, and the
emperor so ordered. Although such setbacks have frequently occurred,
there was decided progress when, in 1630, Gustavus of Denmark ordered
a collection of all sorts of such material to assist him in the govern-
^ For a similar proof in English literature cf. Albert B. Friedman, Ballad
Revival (Chicago, 1961), chap. III.
XXIV PREFACE
ment of his country. He was the first to require that the music as well
as the words of the folk songs be preserved. More than a century later,
Goethe's friend Herder in Germany and Percy in England devoted them-
selves to this work. The efforts of recent decades to save whatever
could be recovered are like a last-minute attempt, but they are better than
none. In this spirit the task of editing volumes IV and V of the Brown
Collection was undertaken. There was never any idea of establishing,
ex cathedra, a methodology which would be a law and sacrosanct. It
was felt, however, that there was a need for at least trying to bring some
order into a rather confused state of affairs. It was the hope of this
writer that whatever he might contribute to the cause would serve as a
stimulus to other workers in the field. Should someone find a more
satisfactory terminology or way of treating the material, so much the
better.
It is again a pleasure to acknowledge the understanding and co-opera-
tion shown me at all times by Dr. PauU F. Baum of Duke University as
editor, as well as by Mr. Ashbel Brice, the guiding spirit of the Duke
University Press.
I shall never be able to show all the gratitude I feel towards my wife,
Elizabeth Logan Schinhan, for all she has been to me through all these
years.
J. P. S.
Kannapolis, May 1961
INTRODUCTION
T /"OLUME V contains the melodies which belong to the texts in the
^ companion volume III. While it is often difficult to make a sharply
defined distinction between ballads and folk songs proper, one thing is cer-
tain: ballads tell of happenings in the life of people usually well known to
their contemporaries. These stories are always told objectively, whether
they deal with domestic tragedies, murdered lovers, outlaws, incidents of
war, or occupational pursuits. Not so, however, with folk songs. Here the
subjective definitely enters and in many cases goes to the extreme of gross
sentimentality. It must be admitted that some of these songs, like many
of our popular songs of today, are not exactly admirable manifestations
of a part of our national character. As Hubert G. Shearin has said :
"They are hardly worth preserving, even by title, save for the fact that
in spite of the pseudo-literary tang, they are fellow travelers by oral
traditions with the true folksongs and song-ballads."^ One British author,
Miss Anne G. Gilchrist, regards them as expressing "the peculiar type of
sentimentality which seems distinctly American."
Besides 557 songs and their variants, covering all the classifications
given in volume III, there are 128 songs not contained in that volume.
These songs deal with a variety of types : Drinking, Negro, Love, Hunting,
Religious Songs, Chanties, and such, dating from the First World War.
Of the 66 children's game songs, a small number also appear in the first
group, as they do in volume III. When they occur again among the
game songs, they are referred to by the number of the music score. The
texts to these songs are to be found in volume I.
Anyone interested in more than getting a tune of a ballad or folk song
is requested to study the introduction found in volume IV before perusing
either volume IV or V.
Some features of the folk songs, which considerably outnumber those of
the ballads, seem unexpectedly different. In the latter, the plagal scales
outrank the non-plagal three to one, whereas in the former, the number
of the plagal scales is less than two and a half times that of the non-
plagal. As in the ballad tunes, so in the folk songs, the most frequent
scales are the third pentatonic with 208, and the heptachordal scales
with 170, not including, however, the Church modes. Next come the
hexachordal with 90, and the hexatonic (4) with 89. A like relationship
is found between the pentachordal with 31, and the tetratonic (4) with 30.
Noteworthy also is the overwhelming use of the third pentatonic mode
as compared with all of the other four: 208 as against 10. It may be
surprising to find forty scales classified as irrational.
While there is not much difference between the beginnings on I and
V in either the ballads or the folk songs, the start on the third degree,
being more than twice as frequent in the folk songs, should be mentioned.
' Hubert G. Shearin and Josiah H. Combs, A Syllabus of Kentucky Folk-
Songs (Lexington, Ky., 1911), p. 29.
XXVI INTRODUCTION
Could this be due to the influence of the major tonality? The number of
ballads and folk songs beginning on the weak beat (not counting those
with repeated first tone) shows only a majority of one in the ballads,
whereas the beginnings on the strong beat gives the folk songs a majority
of better than four to one. The descending progressions after a repeated
first tone in the folk songs surpass those in the ballads by 131. The pre-
ponderance of the first degree as final tone is even more evident in the
folk songs. In the ballads we find a meter of % only sixty-three times,
in the folk songs, the number is two hundred, as is likewise that of the
meter %. A striking dissimilarity is that between % and y^. In the
folk songs, the number of the former is almost three times as large, for
the latter, better than two times. Strangely enough, the number of
circular tunes is the same in both. For this term and its application see
Phillips Barry, "Folk Music in America," JAFL xxii (1909), yy.
Of the most frequent structures we find the following :
Ballads Folk songs
aa^ 109 115
Barform 29 95
abed 60 76
a b 94 56
Reprisenbar 36 50
In the folk songs, the barforms and the Reprisenbars taken together
show the barforms outranking any other form used.
Progressions by skips as against steps show, as in the ballads, a pref-
erence for the former: 1,112 in 744 songs. The only exception occurs in
the additional folk songs, where out of 128 songs 65 use more steps, as
compared with 59 using more skips, and four having an equal number of
each. The range of all the melodies varies from a major third to a
major thirteenth. The most frequent are the octave (252), the major
sixth (107), major ninth (99), minor seventh (54), major and minor
tenth (43 each), and fifth and eleventh (40 each).
If we wish to have the rather young science of ethnomusicology
accepted into the fraternity of strict sciences, it will behoove us to use
concise, accurate, and logical terms and, in our discussions, use care in
making statements, being certain that they will stand the test of scientific
analysis. In doing this, the present writer has always felt that there was
no need to change any terms which have been in use for a long period
of time and have measured up to the requirements stated above.
I. With regard to a fermata '^ or v:^ , used to indicate an extended, or
respectively shortened duration of a tone, the present editor, together with
Cecil Sharp, Phillips Barry, and numerous other scholars in the field has
used the sign 1^ generally to indicate an extension of one half of the
value of the note above which the sign was placed. There are, however,
quite a few cases in the ballads as well as the folk songs where this
limit is exceeded. This is a purely individual matter, for there is no
law governing the absolute limit one way or another. -
' For a contemporary example in operatic singing, of. Irving Kolodin's
criticism of Dino Formichini's singing of La Bohcme, end of act I, Saturday
Review, April 29, 1961, p. .37.
INTRODUCTION XXVU
2. Scales. In beginning the numerical series of the peutatonic modes
thus : c d f g a, where the interval of a third occurs from two to three,
the practice of Hugo Rieniann and numerous leading musicologists like
Robert Lach, Curt Sachs, Gustave Reese, and others has been followed.
See especially Curt Sachs's The Rise of Music in the Ancient li'orld Hast
and West, New York, 1943, p. 124.
In acknowledging the necessity for clear and logical terms we should
reject a statement saying that a series of six tones in a gapped scale lies
within a sixth. And it might prove rather embarrassing to try to ex-
plain how a series of tones, say from the lower V to III above the tonic,
can contain a run of six consecutive notes.
The occurrence of a third, major or minor, in no way affects the
series as being hexachordal or hexatonic. It does, however, afTect the
quality of the tonal row ; and it is interesting to compare the tunes of
the ballads with those of the folk songs. In the former we find that
out of 517 scales 43 have minor thirds from the tonal center, two have
both major and minor. In the scales of 744 folk songs, this relationship
is twenty-one to seven.
As mentioned in the Introduction in volume IV, the present writer
only reluctantly used the term plagal for scales extending below their
normal range and he would gladly replace it with 'mixed scales.' Un-
fortunately, the latter has already been accepted in musical terminology to
designate a scale covering the complete range of an authentic and the
corresponding plagal mode. Should there be, as there well might, one
or two tones missing in this series, this would then seem to leave the
problem where it was. At any rate, the term 'plagal' was not always
confined to a scale one fourth below the tonal center, and the distinc-
tion between authentic and plagal, considered as normal by the theorists
of the tenth up to the twelfth centuries, breaks down in the development
of the sequences.
Something needs to be said to clarify the term 'irrationality' and its
use. As in Greek and Latin prosody 'irrational' was used to indicate
that the normal ratio between arsis and thesis was not preserved, so it
may fittingly be used to indicate that the normal ratio of intervals, as
understood when speaking of a given Church mode or of a major or
minor scale, is not observed. 'Irrational' is merely a general term to
indicate the abnormality of a phenomenon. If for statistical reasons it is
desired to break down the occurrences of whole and halfsteps, this distinc-
tion can very easily be indicated. But no matter what the relationship
between the individual tones may be (the ones missing are always
indicated), if this does not conform to our normal or rational concept
of what a Dorian, Phrygian, minor or major or pentatonic scale is, the
relationship is not normal, not rational, and therefore 'irrational.'
3. Range. The difference in range or ambitus between the melodies of
the ballads and those of the folk songs is but slight. In both, the largest
span is that of a thirteenth, or one octave and a sixth. The smallest
range in the ballads is a fourth, in the folk songs a major third. Numeri-
cally, in the latter, the highest in frequency is the octave (252), next, the
major sixth (107), major ninth (99), minor seventh (54), major and
minor tenth (43 each) and fifth and eleventh (40 each).
XXVin INTRODUCTION
4. Melodic Line, or Interval Succession in Pitch. For a detailed
discussion of this term see volume IV, pp. xxviii-xxxi. In 744 folk
songs and games, the preference for progressions by skips is evidenced by
a majority of 1112. Noteworthy is the phenomenon of common intervallic
progressions, which, however, are functionally totally different. Compare,
for example, F-414 and 31 FSSM No. 40. In the ballads, there are some
modal melodies or melodies with a modal 'flavor' which chose not to
adhere to one mode; in the folk songs the modes being very much in the
minority, there is less of this tendency. In view of the strong influence
of the Church and its music, we should not wonder at this, especially,
if we recall some melodies in the Musica Enchiriadis and other early
treatises. These anticipate Ockeghem's fifteenth-century Catholica.
The melodic relationship of tunes in this Collection is given, except
in a few cases where the relationship is obvious, in the notes following
the music scores. The reason why this editor hesitated to quote melodies
from various publications can best be shown by referring to JAFL XLiv
(1931), 419, 'Lullaby.' This is one of the most atrocious assaults on
musical intelligence ever encountered. For what not to do, see SharpK II,
No. 118, all versions. Cf. here F-246 and remarks.
5. Meter, or Interval Succession in Time. Nothing needs to be added
to what was given in volume IV, pp. xxxi-xxxiv.
6. Structure, or Gestalt: Over-all Rhythm. The methodology used for
the analysis of the various musical forms is that of Alfred Lorenz,^ which
is followed by all the leading European scholars. The external appear-
ance of the Mastersinger strophe and the form of the French troubadour
lyric are very much alike, but the latter, as F. Gennrich has shown,
(Grundriss, 188, 223, 240, 245) goes back to entirely different roots.
Nevertheless, the music of the widely traveled troubadours as well as that
of the Roman Church, as mentioned before, certainly influenced the music
of the people, just as the reverse is true. At any rate, we find the first
evidence of barform in vocal music in the hymns of the late Antique as
well as the Syrian Madhrase, which are related to the former.
In most cases, the songs have been broken down into their smaller
units, although these were finally compounded into what was called
'Gestalt' or 'Over-all Rhythm.' The present writer accepts wholeheartedly
the idea that, in any artistic creation, the whole is more than merely
the sum of its parts.
The unpsychological viewpoint that music is a compound of tones, is supported
by the notation. ... It abstracts from the living, instantaneous nuance which,
if at all, it can render only in remote terms, and through laborious circum-
scription. Thus it places the emphasis ... on the physical fact ; the tones
and their acoustical and temporal relations which, in the manner of all theory,
it simplifies and schematizes.*
Referring to the 'Conclusion' in volume IV, p. xxxviii as his 'Credo,'
the present writer cannot join any scholar who blindly follows Aristotle's
' Cf. volume IV, p. xix, n.i.; also MGG, I 1259-67.
* E. von Hornbostel, "Melodic und Skala," JMP xix (1912), 13.
I NTRODUCTION
dictum,^ "If you want to understand the invisible, look carefully at the
visible," and stops at the latter. One can have a minute description of all
physical characteristics and observable habits and still find himself baffled
when confronted by the enigma of a human being.
Without denying the value of Metfessel's Phonophotography, one can-
not help asking: "Is music an auditory or a visual experience?" when he
reads: "The sound waves in singing can be analyzed only by visual
methods, because as soon as the ear picks them up. certain fundamental
changes take place, which are due to the sluggishness and varying sensi-
tivity of the ear itself."^ Should we now apply the same idea to the
well-known peculiarities of the human eye and its perception of things by
using a color organ to represent in tones the colors contained in a
painting ?
When we consider the psychological fact that no two persons see or
hear the same thing alike, it would be well to remember Dr. Johnson's
saying: "It ought to be the first endeavor of a writer to distinguish na-
ture from custom; or that which is established because it is right, from
that which is right only because it is established." Almost thirty years
ago the present writer expressed himself on this subject:
Merely to classify these songs as strophic forms of varying content is always
the most palpable solution, but does not do justice to the native genius and
the intuitive and unerring artistic instinct of these peoples. Music being the
expressed emotion, is a psychological phenomenon, and its appeal, as well as
its effect, is determined by factors which are distinctly a part of the psycho-
logical make-up of man.'^
As attitudes as well as moods vary, and as man is constantly affected
by new experiences, the stimulus of music will find a different response
at different times. This is equally true of an analysis that goes beyond
the most obvious facts. Varying aspects of the same phrase will be found
at different times. What at one time appears to be perfectly satisfactory
or the only choice available, will, at another time, take second or third
place in comparison.^ For this reason, in most analyses, the various
possibilities of divisions and subdivisions of phrases are given, which
the study of these melodies unfolded. All these suggested analyses are
not only perfectly possible, but they are based on logically developed
arguments, furnishing ample proof for every claim made. It is not ex-
pected that all of them will be accepted by all scholars at all times ; in such
cases it is merely submitted that the psychological facts referred to
above are thereby manifested. Nevertheless, let us all join ranks in
furthering the work to be done always remembering Goethe's words:
"Gepragte Form, die lebend sich entwickelt."
^Aesthetics III, (b).
"Milton Metfessel, Phonophotography in Folk Music (Chapel Hill, 1928),
pp. 27-28.
'Jan P. Schinhan, "The Music of the Papago and Yurok" (Structures),
Dissertation submitted to the Philosophical Faculty, University of Vienna, 1933.
* H. Th. Moore, "The Genetic Aspect of Consonance and Dissonance,"
Psychological Monographs xvii, No. 2 (1914), 1-68; p. 63.
ABBREVIATIONS
ABFS American Ballads and Folk Songs. By John Avery Lomax
and Alan Lomax. New York, 1934.
ABS American Ballads and Songs. By Louise Pound. New
York, [1922].
AFM American Folk Music. By George Pullen Jackson. Boston,
[1947]-
AFSC American Folk Songs for Christmas. By Ruth Crawford
Seeger. New York, 1953.
AFSCh American Folk Songs for Children. By Ruth Crawford
Seeger. New York, 1948.
AIM Ancient Irish Music. By P. W. Joyce. Dublin, 1912.
AMS American Mountain Songs. By Ethel Park Richardson and
Sigmund Spaeth. New York, [1927].
ANA A Nonsense Anthology. By Carolyn Wells. New York,
1902.
ANFS American Negro Folk-Songs. By Newman L White. Cam-
bridge [Mass.], 1928.
AnFSC Animal Folk Songs for Children. By Ruth Crawford Seeger.
New York, 1950.
ANS American Negro Songs. By John W. Work. New York,
1940.
APPS The American Play-Party Song. By Benjamin A. Botkin.
Lincoln, Nebraska, 1937.
APPSSG Alamance Play-Party Songs and Singing Games. By Fletcher
C. Collins. Elon College, N. C, 1940.
As America Sings. By Carl Carmer and Edwin John String-
ham. New York, 1942.
ASb The American Songbag. By Carl Sandburg. New York,
[1927].
ASB Ancient Songs and Ballads. By Joseph Ritson. London,
1829. 2 vols. Vol. I.
ASM Ancient Scotish Melodies. By William Dauney. Edinburgh,
1838.
ASoWS Another Sheaf of White Spirituals. By George Pullen Jack-
son. Gainesville, Fla., 1952.
ATB The American Tune Book. Charlotte, N. C, 1950 (Reprint).
Bancroft Gaines for the Playground, Home, School and Gymnasium.
By Jessie N. Bancroft. New York, 1910.
BANS The Book of American Negro Spirituals. By James Weklon
Johnson and Rosamund Johnson. New York, 1944. 2 vols.
ABBREVIATIONS
BB Ballads of Britain. By John Goss. London, 1937.
BBM British Ballads from Maine. By Phillips Barry, Fannie H.
Eckstorm, [and] Mary W. Smyth. New Haven, 1929.
BFSSNE Bulletin of the Folk-Song Society of the Northeast. Cam-
bridge [Mass.], 1930-37.
BISB The Burl Ives Songbook. New York, [1953].
BKH Ballads of the Kentucky Highlands. By Henry Harvey
Fuson. London, 1931.
BLSTL Ballads, Love-Songs and Tragic Legends, from the Southern
Appalachian Mountains. By John Jacob Niles. New
York, 1938.
BM Ballad Makin' in the Mountains of Kentucky. By Jean
Thomas. New York, 1939.
BMFSB Twenty-Nine Beech Mountain Folk Songs and Ballads. By
Mellinger Henry and Maurice Matteson. New York, 1936.
BNAF A Bibliography of North American Folklore and Folk Song.
By Charles Haywood. New York, 1951.
BoS A Book of Shanties. By C. Fox Smith. Boston & New
York, 1927.
Botsford Botsford Collection of Folk Songs. By Florence A. Botsford.
New York, 1930.
Bowman Jolm Henry. By James Cloyd Bowman. Chicago, 1942.
BS Ballads and Songs. By G. L. Kittredge, 1917. (JAFL xxx,
No. cxvi.)
BSI Ballads and Songs of Indiana. By Paul G. Brewster. Bloom-
ington, Indiana, 1940.
BSM Ballads and Songs Collected by the Missouri Folk-lore
Society. By H. M. Belden. Columbia, Missouri, 1940.
BSO Ballads and Songs from Ohio. By Mary O. Eddy. New
York, [1939].
BSS Bahama Songs and Stories. By Charles L. Edwards. New
York, 1895. Reprint MAFLS HI, New York, 1942.
BSSB Ballads and Songs of the Shanty-Boy. By Franz Rickaby.
Cambridge [Mass.], 1926.
BSSM Ballads and Songs of Southern Michigan. By Emelyn E.
Gardner and Geraldine J. Chickering. Ann Arbor, 1939.
BSSN Ballads and Sea Songs from Nezvfoundland. By Elizabeth
Greenleaf [and] Grace Y. Mansfield. Cambridge [Mass.],
1933-
BSSNS Ballads and Sea Songs from Nova Scotia. By W. Roy Mac-
Kenzie. Cambridge [Mass.], 1928.
BSUS Ballads Surviving in the United States. By C. Alphonso
Smith. New York, 1916.
BT The Ballad Tree. By Evelyn Kendrick Wells. New York,
[1950].
ABBREVIATIONS
XXXIU
BTFLS
CCIM
CH
Christie
CPS
CRS
cs
CSV
DD
Dean
DESO
Dett
DFW
DL
EAS
EASM
ECS
EEC
EFSS
EFSSC
EM
Em
EPG
Bulletin of the Tennessee Folklore Society. Maryville, Tenn.,
1935—-
The Complete Collection of Irish Music. By Geo. Petrie.
(Ed. C. V. Stanford). London, 1902-05.
Church Harmony. By William Walker. Chambersburg,
Pa., 1841.
Traditional Ballad Airs. By W. Christie. Edinburgh, 1876-
1881. 2 vols.
Cabin and Plantation Songs. By Thomas P. Fenner. New
York, 1901. (3rd ed.)
Cooperative Recreation Service Publications. Kit : O ; P ; Q ;
R; T; 24; 47; 48; 53; 54.
Cowboy Songs and Other Frontier Ballads. By J. A. Lomax
and Alan Lomax. New York, 1938. (In a few cases the
earlier edition, 1910, is cited.)
Country Songs of Vermont. By Helen H. Flanders [and]
Helen Norfleet. New York, [1937].
Devil's Ditties. By Jean Thomas. Chicago, 1931.
Flying Cloud and One Hundred and Fifty Other Old Time
Songs and Ballads. By M. C. Dean. Virginia, Minn.,
n.d.
Down-East Spirituals, and Others. By George Pullen Jack-
son. New York, [1943].
Religious Folk Songs of the Negro. Ed. R. Nathaniel Dett.
Hampton, Va., 1927.
Drawn from the Wood. By Frank Shay. New York, 1929.
Deutscher Liederhort. By Ludwig C. Erk and Franz M.
Bohme. Leipzig, 1925. 3 vols.
Early American Songs. By Margaret and Travis Johnson.
New York, [1943].
Early American Sheet Music. By Harry Dichter and Elliot
Shapiro. New York, 1941.
English County Songs. By Lucy Broadwood and J. A. F.
Maitland. London, 1893.
English Folk Chanties. By Cecil J. Sharp. New York, n.d.
English Folk Songs for Schools. By Baring Gould and
Cecil J. Sharp. London, n.d.
English Folk-Song, Some Conclusions. By Cecil J. Sharp.
London, 1907.
English Music. By W. J. Turner. London, 1947.
English Melodies from the ijth to the i8th Century. By
Vincent Jackson. London, 1910.
Education by Plays and Games. By Geo. Johnson. New
York, 1907.
ABBREVIATIONS
ESB The Everybody Sing Book. Ed. Kenneth S. Clark. New
York, 1930.
ETSC English Traditional Songs and Carols. By Lucy Broadwood.
London, 1908.
ETWVMB East Tennessee and Western Virginia Mountain Ballads.
By Celeste P. Cambiaire. London, 1935.
FB Frontier Ballads. By Charles J. Finger. New York, 1927.
FBSE Folk Ballads of Southern Europe. By Sophie Jewett. New
York and London, 19 13.
FdDG Follozu de Drinkin' Gou'd. Ed. J. Frank Dobie. Austin,
Texas, 1928,
FGJ Folk Games of Jamaica. By Martha W. Beckwith. Pough-
keepsie, 1922. (Folk-Lore Foundation's Publications.)
FHA Folk Hymns of America. By Annabelle Morris Buchanan.
New York, 1938.
FLI Folklore from Iowa. By Earl J. Stout. New York, 1936.
Florida Some Materials for Physical Education in Florida Elementary
Schools. Bulletin 21.
FMA Folk Music in America. By Phillips Barry. National Serv-
ice Bureau, [New York], 1939.
FMNEE "Folk Music of Northeastern England," in Collected Essays.
By W. Gillies Whittaker. London, 1940.
Ford Traditional Music of America. By Ira W. Ford. New York,
1940.
FSA Folk-Songs of America. By Robert W. Gordon. National
Service Bureau, [New York], 1938.
FSCSG Folk Songs, Chanteys and Singing Games. By Charles H.
Farnsworth and Cecil J. Sharp. New York, 1909-12.
FSE Folk-Songs of England. Ed. Cecil J. Sharp. Books I, H,
III, IV, V, various editors. London, 1908-12.
FSEK Folk Songs of Europe. Ed. Maud Karpeles. For the Inter-
national Folk Music Council. London, [1956].
FSF Folksongs of Florida. By Alton C. Morris. Gainesville,
Fla., 1950.
FSFP Folk Song and Folk Poetry as Found in the Secidar Songs of
the Southern Negro. By Howard W. Odum. JAFL
XXXV.
FSFS Folk Songs of the Four Seasons. By Harvey Officer. New
York, 1929.
FSKH Folk-Songs from the Kentucky Highlands. By Josiah H.
Combs. New York, 1939.
FSKM Folk-Songs of the Kentu-ckv Mountains. By Josephine Mc-
Gill. New York, [1917].
ABBREVIATIONS XXXV
FSM Folksongs of Mississippi and Their Background. By Arthur
Palmer Hudson. Chapel Hill, N. C, 1936.
FSmWV Folk-Songs Mainly from West Virginia. By John H. Cox.
National Service Bureau of the Federal Theatre Project.
W.P.A. New York, 1939.
FSN Folk Songs from Nezvfoundhnd. By Maud Karpeles. [Lon-
don], 1934.
FSoA Folksongs of Alabama. By Byron Arnold. University, Ala.,
1950.
FSONE Folk Songs of Old Nezv England. By Eloise Hubbard Lin-
scott. New York, 1939.
FSRA Folk-Songs of Roanoke and the Albemarle. By Louis W.
Chappell. Morgantown, W. Va., 1939.
FSS Folk-Songs of the South. By John Harrington Cox. Cam-
bridge [Mass.], 1925.
FSSH Folk-Songs from the Southern Highlands. By Mellinger
E. Henry. New York, [1938].
FSSM 30 and i Folk Songs from the Southern Mountains. By
B. L. Lunsford and L. Stringfield. New York, 1929.
FSSom Folk Songs from Somerset. By Cecil J. Sharp and Charles
L. Marson. London, 1904-09. 5 vols, in i.
FSUSA Folk Song U. S. A. iii Best American Ballads. By John
A. Lomax and Alan Lomax. New York, 1948.
FSV Folk-Songs of Virginia. A Descriptive Index. By Arthur
Kyle Davis. Durham, N. C, 1949.
FTM Folk Tunes from Mississippi. By Arthur Palmer Hudson
and George Herzog. National Play Bureau Publication
No. 25, July 1937.
GBFS The Golden Book of Favorite Songs. By John W. Beattie
et al. Chicago, 1923.
GCS A Garland of Country Song. By S. Baring-Gould, and H.
Fleetwood Sheppard. London, 1895.
GGMS A Garland of Green Mountain Song. By Helen Hartness
Flanders. Boston, 1934.
Gomme The Traditional Games of England, Scotland, and Ireland.
By Alice Bertha Gomme. London, 1894-98.
GOS The Good Old Songs. By C. H. Cayce. Martin, Tenn.,
1913-
GRSB The Gold Rush Song Book. By Eleanor Black and Sidney
Robertson. San Francisco, 1940.
GSAC Games and Songs of American Children. By William Wells
Newell. New York, 1883; enlarged ed., 1903, 1911.
ABBREVIATIONS
HCSB The Home and Community Song Book. By Thomas W.
Surette and Archibald T. Davison. Boston, 1931.
HFLB Hoosier Folklore Bulletin. Bloomington, Ind., 1942-45.
Thereafter: Hoosier Folklore. — HFL.
HOSFG Hullabaloo and Other Singing Folk Games. By Richard
Chase. Boston, 1940.
IMWS Iron Men and Wooden Ships. By Frank Shay. Garden
City, N. Y., 1924.
lOA In Old Alabayna. By Anne Hobson. New York, 1903.
ISB Irish Street Ballads. By Colm O'Loughlin [O Lochlainn].
London, 1939.
JAFL Journal of American Folklore. 1888 — .
JEFDSS The Journal of the English Folk Dance and Song Society.
London, 1931 — . Successor to JFSS.
JFSS The Journal of the Folk-Song Society. London, 1899- 193 1.
LFFS Louisiana French Folk Songs. By Irene Therese Whitfield.
Baton Rouge, La., 1939.
Logan Sketches of the Broad River and Kings Mountain Baptist
Associations from 1800-1882. By John Randolph Logan.
Shelby, N. C, 1887.
LT Lonesome Tunes. Folk Songs from the Kentucky Mountains.
By Loraine Wyman and Howard Brockway. New York,
[1916].
MAFLS Memoirs of the American Folklore Society. No. xxix is
"Folk-Lore from Iowa," by Earl J. Stout, 1936.
McLendon A Finding List of Play-Party Games. By Altha Lea Mc-
Lendon, SFLQ viii (1944), 201-34.
Mellows Mellozvs: A Chronicle of Unknown Singers. By R. Emmet
Kennedy. New York, 1925.
MHITB The Music Hour Intermediate Teacher's Book. By Osborne
McConnally et al. New York, 193 1, 1938.
MIOH Music in Our History. By Maude M. Slawson. Dubuque,
Iowa. 1951.
MM Minstrelsy of Maine. By Fannie H. Eckstorm and Mary
W. Smyth. Boston, 1937.
MemM Memory Melodies. By Lucien L. and Flora L. McDowell.
Smithfield, Tenn., 1947.
MMP Mountain Ministrelsy of Pennsylvania. By Henry W. Shoe-
maker. Philadelphia, 1931. A revision of NPM.
MPFDC My Pious Friends and Drunken Companions. By Frank
Shay. New York, 1927.
MQ Musical Quarterly. New York, 191 5 — .
MSFSH "More Songs from the Southern Highlands." By Mellinger
E. Henry. JAFL xliv (1931), 61-115.
ABBREVIATIONS
xxxvn
MSHF
MSNC
MSON
MWS
NAB
NASb
NASB
NCFL
Newell
NFS
NFSSLB
NFMNS
NGMS
NPM
NS
NSNH
NSOB
NSSUS
NWS
NYFLQ
OASPS
OBC
More Songs of the Hill Folk. By John J. Niles. New York,
[1936].
Mountain Songs of North Carolina. By Marshall Bartholo-
mew and Susannah Wetmore. New York, 1926.
Minstrel Songs Old and New. Oliver Ditson Company,
Boston, n.d.
Maine JVoods Songster. By Phillips Barry. Cambridge
[Mass.], 1939.
Native American Balladry. By G. Malcolm Laws, Jr.
Philadelphia, 1950.
New American Songbag. By Carl Sandburg. New York,
1950.
The New American Song Book. By Marx and Annie
Oberndorfer. Chicago, 1933.
North Carolina Folklore, Chapel Hill, N. C. Vols. I-VII.
Publication of the N. C. Folklore Society and the U. N, C.
Folklore Council.
See GSAC
Negro Folk Songs. By Natalie Curtis Burlin. New York,
1918-19. 4 vols.
Negro Folk Songs as Sung by Lead Belly. By John Avery
Lomax and Alan Lomax. New York, 1936.
Negro Forget Me Not Songster. 2 vols. Library of Con-
gress.
The New Green Mountain Songster. By Helen Hartness
Flanders, Elizabeth Flanders Ballard, George Brown and
Phillips Barry. New Haven, 1939.
North Pennsylvania Minstrelsy. By Henry W. Shoemaker.
2nd ed., Altoona, Pa., 1923.
The Negro and His Songs. By Howard W. Odum and Guy
B. Johnson. Chapel Hill, N. C, 1925.
The Negro Sings a New Heaven. By Mary Allen Grissom.
Chapel Hill, N. C, 1930.
Negro Singer's Own Book. Philadelphia, (1846?).
Negro Slave Songs in the United States. By Miles Mark
Fisher. Ithaca, N. Y., 1953.
Negro Workaday Songs. By Howard W. Odum and Guy
B. Johnson. Chapel Hill, N. C, 1926.
New York Folklore Quarterly. 1945 — .
The Ozarks: An American Survival of Primitive Society.
By Vance Randolph. New York, 193 1.
The Oxford Book of Carols. By Percy Dearmer, R. Vaughan
Williams, and Martin Shaw. London, 1928, 1951.
XXXVlll ABBREVIATIONS
ODNR The Oxford Dictionary of Nursery Rhymes. Ed. lona and
Peter Opie. Oxford, 1951.
OFS Ozark Folksongs. Collected and edited by Vance Randolph.
Columbia, Mo., 1946, 1948, 1949, 1950. 4 vols.
OHEFS One Hundred English Folk Songs. By Cecil J. Sharp. New
York and Boston, [1916].
100 EPS see also OHEFS
OHFFS One Hundred-Forty Folk Songs. By Archibald T. Davison
and Thomas Whitney Surette. Boston, 1917.
OIFMS Old Irish Folk Music and Songs. By Patrick W. Joyce.
London, 1909. 3 parts.
OSC Our Singing Country. By John A. Lomax, Alan Lomax,
and Ruth Crawford Seeger. New York, 1941.
OSSG Old Songs and Singing Gaines. By Richard Chase. Chapel
Hill, N. C, 1938.
Owens Swing and Turn: Texas Play-Party Songs. By William A.
Owens. Dallas, 1936.
PC Pulling Clianties. By Cecil J. Sharp. London, n.d.
PMOT Popular Music of the Olden Time. By W. Chappel. Lon-
don, [1859]. 2 vols.
PSB People's Song Book. By Waldemar Hille. New York, 1948.
PSL Pennsylvania Songs and Legends. By George G. Korson.
Philadelphia, 1950.
PTFLS Publications of the Texas Folk-Lore Society. Austin,
1916 — .
R The Revivalist. By Joseph Hillman. Troy, N. Y., 1869.
RAS Rolling Along in Song. By Rosamund Johnson. New York,
1937-
RaW Read 'Em and Weep. By Sigmund Spaeth. New York,
1945. (New and revised edition.)
RFSN Religious Folk Songs of the Negro. By Thomas P. Fenner.
Hampton, Va., 1924.
RG Roll and Go. By Joanna C. Colcord. Indianapolis, 1924.
Rimbault Nursery Rhymes, with Tunes. ... By Edward F. Rimbault.
London, n.d.
SA Singing America. By Augustus D. Zanzig. Boston, n.d.
SAH Sacred Harp. Ed. J. L. White. Atlanta, Ga., 191 1.
SAS Songs of American Sailormen. By Joanna C. Colcord. New
York, 1938. (Revised edition of Roll and Go.)
SBML Songs and Ballads of the Maine Lumberjacks. By Roland
Palmer Gray. Cambridge [Mass.], 1924.
SBPPG The Source Book of Play-Party Games. By M. Katherine
Price. Minneapolis, 1949.
ABBREVIATIONS XXXIX
SCB South Carolina Ballads. By Reed Smith. Cambridge,
[Mass.], 1928.
SCFS A Selection of Collected Folk-Songs. Vol. i. Arr. by Cecil
J. Sharp and R. Vaughan Williams. London, 195 1.
SCS Thirty-six South Carolina Spirituals. By Carl Diton.
New York, 1928.
SCSM A Song Catcher in Southern Mountains. By Dorothy Scar-
borough. New York, 1937.
SFLQ Southern Folklore Quarterly. Gainesville, Fla., 1937 — .
SFSEA Spiritual Folk-Songs of Early America. By George PuUen
Jackson. New York, [1937].
SFSPP Studies in Folksong and Popidar Poetry. By Alfred M.
Williams. London, 1895.
SG The Scotish Gael. By James Logan. Hartford, 1855. (5th
American Ed.)
SharpK English Folk Songs from the Southern Appalachians. By
Cecil J. Sharp and Maud Karpeles. London, 1932. 2 vols.
Shear in A Syllabtis of Kentucky Folk-Songs. By Herbert G. Shear-
in and Josiah Combs. Lexington, Ky., 191 1. Transyl-
vania Studies in English H.
SHE Songs of the HiU-Folk. By John J. Niles. New York,
[1934]-
SHIS Saint Helena Island Spirituals. By Nicholas George Julius
Ballanta. New York, 1925.
SHMC Southern Harmony and Musical Companion. By William
Walker. W.P.A. repr., New York, 1939.
SHP Songs of the Hills and Plains. By Harry Robert Wilson.
Chicago, [1943].
SJS The Story of the Jubilee Singers (with Their Songs). By
J. B. f. Marsh. Boston, 1881.
SKMT Seven Kentucky Mountain Tunes. By John Jacob Niles.
New York, 1928.
SMBFS "Still More Ballads and Folk-Songs from the Southern High-
lands." By Mellinger Henry. JAFL xlv (1932), 1-176.
SMLJ Songs of the Michigan Lumberjacks. By Earl C. Beck.
Ann Arbor, 1941.
SNE Seven Negro Exidtations. By John Jacob Niles. New York,
1929.
SNS Seventy Negro Spirituals. By William Arms Fisher. Bos-
ton, 1926.
SNSAM Seventeen Nursery Songs from the Appalachian Mountains.
By Cecil J. Sharp, London, 1955.
SO Scottish Orpheus. By Adam Hamilton. Edinburgh, n.d.
SoA Songs of America. By David Ewen. Chicago, 1947.
xl ABBREVIATIONS
SOCG Songs of the Old Camp Ground. By Lucien L. McDowell.
Ann Arbor, Michigan, 1937.
SOCH The Social Harp. By John G. McCurry. Philadelphia, 1855,
1859.
SoG Songs of Grace. Ed. E. S. Lorenz and I. Baltzell. Dayton,
Ohio, 1879.
SOH The Southern Harmony and Musical Companion. Compiled
by William Walker, Spartanburg, S. C. (Printed in New
Haven, Conn. 1835.)
SRA Songs of the Rivers of America. By Carl Carmer and Dr.
Albert Sirmay. New York, 1942.
SS Slave Songs of the United States. By William F. Allen.
New York, 1867 (reprinted 1929).
SSGSI Slave Songs of the Georgia Sea Islands. By Lydia Parrish.
New York, 1942.
SSLKFS A Selection of Some Less Knozvn Folk-Songs. Vol. 2.
Arr. by Cecil J. Sharp, R. Vaughan Williams, and others,
compiled by Cyril Winn. London, 1951.
SSSA Songs Simg in the Southern Appalachians. By Mellinger
E. Henry. London, [1934].
STA Singing through the Ages. By Roy Harris and Jacob Evan-
son. Music ed. Edwin J. Stringham. New York, 1940.
TAFL A Treasury of American Folklore. By B. A. Botkin. New
York, [1944].
Talley Negro Folk Rhymes. By Thomas W. Talley. New York,
1922.
Tanner A Game Program in Physical Education for the Elementary
School and Junior High School. By Jessie Rand Tanner.
New York, 1929.
TAS Treasury of American Songs. By Olin Downs and Elie
Siegiiieister. New York, 1943.
TBSSG Traditional Ballads, Songs and Singing Games. By Richard
Chase. Chapel Hill, N. C, 1935.
TBmWV Traditional Ballads Mainly from West Virginia. By John
Harrington Cox. National Service Bureau, 75 S, 1939.
(American Folk Song Publications No. 3 ; mimeographed.)
TBV Traditional Ballads of Virginia. By Arthur Kyle Davis.
Cambridge [Mass.], 1929.
TChC Ten Christmas Carols from the Appalachian Mountains. By
John Jacob Niles. New York, 1935.
Texas FS Texas Folk Songs. By William A. Owens. Austin, Texas,
1950.
T 55 CS Twice 55 Community Songs, No. 2. The Green Book. Bos-
ton, 1923.
ABBREVIATIONS
xli
By Peter W. Dykema
By B. A. Botkin.
By Dorothy Scar-
By Helen Creighton
By Charles Neely.
Oxford, 1891.
By Bertrand Harris
T 55 PCS Twice 55 Phis Community Songs.
et al. Boston, 1919.
TFH Twelve Folk Hymns. By A. Buchanan and John Powell.
New York, 1934.
TFS A Treasury of Folk Songs. By Sylvia and John Kolb. New
York, 1948.
TKMS Twenty Kentucky Mountain Songs. By Loraine Wyman and
Howard Brockway. Boston, [1920].
TNEFL A Treasury of New England Folklore.
New York, 1947.
TNFS On the Trail of Negro Folk-Songs.
borough. Cambridge [Mass.], 1925.
TSFL A Treasury of Southern Folklore. By B. A. Botkin. New
York, [1949].
TSNS Traditional Songs from Nova Scotia.
and D. H. Senior. Toronto, 1950.
TSSI Tales and Songs of Southern Illinois.
Menasha, Wis., 1938.
TT Traditional Tunes. By Frank Kidson.
TTCB Traditional Tunes of the Child Ballads.
Bronson. Princeton, New Jersey, 1959.
VBFB The Viking Book of Folk Ballads. By Albert B. Friedman.
New York, 1956.
VFSB Vermont Folk-Songs and Ballads. By Helen H. Flanders and
George Brown. Brattleboro, Vt., 1932. 2nd ed.
VGS Vocal Gems of Scotland. By Ernest Haywood, London,
1938.
VTWL 266 Volks- Trink- und Wanderlieder. By Hugo Hartmann,
Darmstadt, n.d.
VSBS Vagabond Songs and Ballads of Scotland. By Robert Ford.
London, 1899.
WaS Work and Sing. By Elie Siegmeister. New York, n.d.
WCIYS What Call it, You Say. By Samuel Walker Catts. Mont-
gomery, Alabama, 1957.
Whittaker See FMNEE
WNS White and Negro Spirituals. By George PuUen Jackson.
New York, [1944].
Wolford The Play-Party in Indiana. By Leah J. Wolford. Indian-
apolis, 1916.
WSMML Weep Some More My Lady. By Sigmund Spaeth. New
York, 1945.
WSSU White Spirituals in the Soidhern Uplands. By George Pullen
Jackson. Chapel Hill, N. C, 1933.
ZfMW Zeitschrift fUr Musik Wissenschaft (vol. vi).
THE MUSIC OF THE
FOLK SONGS
COURTING SONGS
A Paper of Pins
'The Paper of Pins.* Sung by Clarice Burleson. Recorded at Crossnore,
Avery county, August 8, 1940. F. C. B. notes : "I think that although Clarice's
home is near Asheville, she learned most of her songs at Crossnore." The
beginning certainly reminds one of the same of 'Gran'ma Grunts' (F-15S). The
sequence of the gifts in this version is : Paper of pins ; Dress of red ; Little grey
dog ; Key to my chest. Traditional answer given by maid : "I'm determined to
be an old maid." At the conclusion the young man says : "I will remain a
bachelor and I won't marry her." For additional texts cf. SharpK 11 45, No.
92A, also SCFS 41-3 and 70-1; and JAFL xlix (1936), 260-2.
F-i
TU
give to
you
pa - per of
pins —
That's the way our love be - gins — If you will
-=^=t^
-«5^-^
mar - ry me, o me, if you will mar - ry me.'
2-6 ,
^-
^^ ; ; J
J J J. ;4i^J^^^^^
^
For melodic relationship cf. **OFS in 41, No. 354, where the melodic
tendency is the same as in our version ; *SharpK 11 45, No. 92A, beginning
only.
Scale: Tetratonic (2), plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2).
NORTH CAROLINA FOLKLORE
'A Paper of Pins.' Sung by Bascom Lamar Lunsford. Recorded at Turkey
Creek, Buncombe county. Additional title given 'Little Lap Dog.' The only
other versions using "Madam" in addressing the lady are SharpK ii 45, No.
92F; SCSM 301 (c) ; SCFS 42; BSO 124-5, No. 30^: and BSM 507.
For reference tracing the song back to medieval times cf. TFS 174.
F-2
^^
^
-4^-^
'Ma - dam, I'll buy you a pa - per of
pms,
And
mE^
=^=^
that's the way that love be - gins. If you will — mar - ry
I
i
me,
1
me,
If
you
will
ry
m
^
tt=±
^E^fe^
N N fr
5^aE;E£^^33E3E3
^^r^
=^
6
— R? — ty~w^
*
-1^ N-:-^s !^ f?^ ^-.
w=^=^
0
J" / -g-
— 1 —
— ^ —
— ^ — , ■ J — ^ — ^ — 0—-
For melodic relationship cf. **AMS 52, measures 1-4; FFS 422; SharpK
II 45, No. 92A; JAFL XXVIII 266 ('Chase that Squirrel'); TFS 174, general
melodic line of first four measures ; *SFQ vi 225.
Scale: Mode III, plagal. Tonal Center: f. Structure: abac (2,2,2,2).
'Paper of Pins.' Sung by Miss Pearl Webb. Recorded at Pineola, Avery
county, 1921. Another title given is 'Little Lap Dog.' Cf. SharpK 11 45, No. 92A,
stanza 7. Our recording gives only this one stanza. The peculiar tonal
juxtaposition of the two characters speaking is interesting. When the man
is speaking, the melody moves in the dominant realm although it cadences in
the tonic key. The answer of the girl begins in the latter, deviates momentarily
into the dominant region, only to cadence with the same formula as the previous
phrase. As only one stanza was recorded, it cannot be stated definitely whether
this distinction is intentional or not, or, what is probably more likely, the
singer having made a wrong start, corrects herself in the second part of the
COURTINGSONGS 5
melody. One needs only to compare the last six measures with measures 3-8
to convince himself that this assumption is more than a good guess.
F-3
:^^^=^^eM
±
:^
^
'I'll give to you
lit - tie lap dog, To go with
i:
^
-*>>-
^
you when you go a-broad, If you will mar - ry me, me, miss,
-^ — ^^—
^
t^
:i)=i--
=?
If you will mar - ry me.' 'I'll not ac - cept the lit - tie
i
i=i--
p=r=^
w
*=
:j^=^
a - broad; And
lap dog To go with me when I
go
^^
^
I'll not mar - ry you, you, sir. And I'll not mar - ry you.'
For melodic relationship cf. **SharpK 11 45, No. 92A ; BSO 120, No. 39A;
ABFS 323 with our last eight measures. TFS 174, measures 1-2 with our 9-
10, also the melodic tendency of measures 3-4 with our 11-12; the latter also
in GSAC, No. 5; FSF 422; EAS, No. 46; and AMS 52, measures 1-4 with
our 9-12.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aaibaa^b =
mm^n plus mm^n (2,2,4,2,2,4) = bar plus bar.
Madam, Will You Walk?
A
'Madam, Will You Walk?' Sung by an anonymous singer to Mrs. Sutton at
Forest City, Rutherford county, 1927. Recorded as ms score. For a different
rorest Lity, Rutheriord county, 1927. Recorded as ms score, tor
textual version cf. FSCSG 88, No. 4; also Newell (GSAC) 55-6.
F-4
m
^
^^^
£
^
will give you a pa - per of pins, For
NORTH CAROLINA FOLKLORE
s
'-r-v
*
--^
-^
=F
that is how my love be - gins. Ma - dam, will you walk,
H^
I
^^
Ma-dam, will you talk, Ma - dam, will you walk and talk with me?'
Scale: Heptachordal. Tonal Center: e-flat. Structure: mm^nnni (2,2,1,1,2)
= mm^n (2,2,4) ; ^ is terminally incremented. The tonal center is the lowest
tone.
'Madam, Will You Walk?' Sung by Miss Emeth Tuttle at Lenoir, Caldwell
county. Recorded as ms score. May 1921. The text supposedly like the first
stanza of 2A (III 9-10) is given here as found in the ms score.
F-5
=1:
i
2. 'I will give you a coach and — six And six white
F^=f^f
i
hors - es as black
pitch. Ma-dam, will you walk, ma-dam.
I
^
^
^^
^ . ^ ^
will you talk, Ma - dam, will you walk and talk with me?'
For melodic relationship cf. ***OFS iii 42, No. 354B.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: mm^n (2,2,4) =
bar.
The Courting Cage
'Kind Sir, I See You've Come Again.' Sung by Miss Jewel Robbins, at
Pekin, Montgomery county, in 1922.
F-6
t7
'Kind Sir, I see you've come a - gain. Pray tell me what it's
COURTING SONGS
i
1
w
*:
^
^1 N
for. For when we part - ed on yon - ders hill I told you
^
^r—- ^'
to come no more, more, more, I told you to come no more.'
For melodic relationship cf. ***SCSM 437B ; OFS iii 53, No. 361 ; SharpK
11 250, No. 177B.
Scale: Tetratonic (2,4) plagal. Tonal Center: e-flat. Structure: aa^abbi
(2,2,2,2,2).
'If You Will Only Be My Bride.' Sung by C. K. Tillett at Wanchese,
Roanoke Island, December 29, 1922. There are some melodic similarities with
3A. This version is based on the Midgett text. Second stanza (cf. variations) :
"Kind sir, I know you have a very fine ship."
F-7
^^^
^
'Bond miss, I have a ver - y fine ship, She plows the
n+t 1
1
1 1 1
y ■ ' m
\ \ m \
,
/\ T J
^_
ma
_
^> ■ ■ ■ *
G . «
\
^ d '^1^
tr — ^ '
1 ^ ^ j—J
o - cean wide, And she can be at your com-mand If you'll
9
^
-iS-
-z^-
«
on - ly be my bride, bride. If you'll on - ly be my bride.'
1-3
— f'' 1
^
^#^
-f-
p-
-h
— 0—
—0 — 1
7
-1-
9
-\-
-r
ZTj
feM=
4-
°==
-U
K^
1'
M=^
4
="
For melodic relationship cf. **SCSM 436; SharpK 11 250, No. 177B and
OFS III 42, No. 354B, first six measures. There is a surprising similarity
between the beginning of this song and that of 'The House Carpenter,' IV 40,
by the same singer.
Scale: Mode III. Tonal Center: d. Structure: aa^aSbbi (2,2,2,2,2). The
tonal center is the lowest tone.
NORTH CAROLINA FOLKLORE
Soldier, Soldier, Won't You Marry Me?
'Soldier, Soldier, Won't You Marry Me?' Sung by J. W. Lawrence at
Zionville, Watauga county, in 1915. Recorded as ms score by A. J. Burrus.
Like /B, the structure of our melody demands two of the stanzas as given
in III 15, 7A. The text is that of Mrs. R. D. Blacknall.
F-8
1
S
:z2:
b2:
■ • ^ •^i^
Sol - dier, sol - dier, won't you mar - ry me with your
i
^
E
sword and gun? 'Oh,
how
ry such a
^^
:1^
pret - ty girl
you
And I've got no hat for to
5
ll==f.
-^
-a^
~~* —
hat
to
wear, wear, wear. And I've got
for
^
i^
1^
wear?'
She
to
the hat - ter's shop
^^^M^=
fast as she could go, She brought the best there
^^m
was there — Cry - ing, 'Sol - dier, here is one.
For melodic relationship cf. **BSO 211, No. 89A, last two measures like
our 8-9; BSO 212, No. 89B, measures 1-2 and 5-6; JAFL xxviii 158 and OFS
1 289, No. 65, measures 1-2.
Scale: Mode III. Tonal Center c. Structure: abcca^d (4,3,2,2,3,2). The a^
shows an interesting contraction of the first two measures into one, rhythmically
altered. Circular tune (V). The tonal center is the lowest tone.
'Soldier, Soldier, Won't You Marry Me?' Sung by Miss Jean Holman at
Durham, 1922. Text by Mrs. R. D. Blacknall. The structure of the melodic
line demands two stanzas as given in III 15.
COURTING SONGS
F-9
^^
-g^— -i^—- ]^
4-^
^
^
'Sol - dier, sol - dier, won't j^ou mar - ry me With your
^f^^^
^
ri - fle, fife, and drum?' 'O, how can I mar-ry such a
^
15?
^
:^
#
-^-
^
pret - ty girl as you, When I've got no cap to put
^
5
^
on?'
way she flew to the hat - ter's shop, As
^
-m
^^1^
fast as
could run. And bought a
cap
of the
^
^
ver - y best. And the sol - dier put it on.
For melodic relationship cf. ** BSO 212, No. 89B, measures 1-2 and 5-6 and
the same in our version; JAFL xxviii 158 and OFS 289, No. 65, measures 1-2;
*SHP 51, first measure only.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abaibccic2b
(2,2,2,2,2,2,2,2) = aa^bbi (4,4,4,4).
The Old Man's Courtship
'The Old Man.' Sung by Miss Gertrude Allen. Recorded at Durham, July
26, 1923. For additional texts cf. BMFSB 8 and FSoA 22.
i
F-io
ife
^^=^=^-
r^
J
^
My moth - er brought an old man Home to
10
NORTH CAROLINA FOLKLORE
^
^ES
:±
i2iJ
me With his old grey beard a - flop - ping.
in
2^
^iEi
^.
^3
I
I would -n't have him,
I would -n't have him.
For melodic relationship cf. **BMFSB 8, melodic line of first four measures
with that of our first three; BSO 132, No. 42 A, and the melodic line of first
two measures with that of our first three ; *SharpK 11 95E, measures 3-4 and
our chorus ; FSoA 22, measures 3-4 and ending with same in our version.
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: nmm (4,2,2)
■=^ inverted bar. Circular tune (V).
10
When I Was a Young Girl
'When I Was a Young Girl.' Sung by Miss Catherine Cox of Salisbury,
Rowan county. No date given. For additional texts cf. GSAC 88, No. 25
and FSoA 154. The same song occurs also in Traditional Gaines of England,
Scotland, and Ireland by Gomme, 11 362. Cf. also Games for the Playground,
Home, School, and Gyinnasium, by Jessie H. Bancroft ; FSCSG 86 ; FSF 204-
5 ; incidentally, the melody of the latter is that of the German folk song : 'O,
Du Lieber Augustin.'
n
^ N ^ N
N
S
F-ii
_ l—at ^— ^-
1 4 -j 1 —
T H 5S ?V-
tri J^ ^ *^^
— • S d 0 —
1 •
~*
V Kr Pr PV-
1^ 1^ • #—
fj • ^
—d^—1^ '
When I was a young girl, young girl, young girl, When I was a
-9 f-
— fv-
— N
1 — 1 1
« ' '
A J
J
0
^
i k. k.
r
^
s
^
fVi •
•
0 •
'^
1^
1 , ' , < \. r
\A) ]j
^
s
y
'/
"/
,
t)
"
^
^
young girl, then, oh then
With
ha ha this
way.
^
i
ha
ha that - a - way. This - a - way, that - a - way then.
For melodic relationship cf. **SFLQ 11 151, beginning and ending.
Scale: Pentachordal, plagal. Tonal Center: g. Structure: mm^n (2,2,4) ==
bar.
COURTING SONGS
II
12
Madam, I Have Gold and Silver
'Seven Long Years.' Sung by a Negro servant, Maria McCauley, as reported
by Mrs. R. D. Blacknall of Durham. No date. Compare the melodic outline
of this with that of 'A Pretty Fair Maid, Down in the Garden' 92A(2), IV 170,
including the variation of measures 5-7.
F-12
W^
^ — ^
^=^=^^=^
9-. — ^ — • — #
*0 ma - dam, I've both gold and sil - ver, O ma - dam.
^
^
t?
I've both hou.se and land, O ma - dam, I have this world of
^
I
i^
■^
^
^ *'
treas - ure And you may use them at your com - mand.'
Scale: Mode III. Tonal Center: c. Structure: aa^bb^ (2,2,2,2). The tonal
center is the lowest tone.
13
One Morning in May
'One Morning in May.' Sung by Mrs. Myra Barnett Miller. Recorded
August 1939, 1940, or 1941 at Lenoir, Caldwell county. This melody is closely
related to that of the anonymous version (F-14) which follows. There, the
singer alters some of the text : "One was a lady, the other a soldier, He served
in the war . . ." (see under variations, measures 5-7). Speaking of 'One
Morning in May' (NCFL iii. No. 10) the author states "not in Brown
Collection." It is however, to be found in III 24, and our present tune will be
found practically identical with that quoted in the article. For additional text
variants cf. FSoA 48; AFM, No. 16 and SharpK 11 212, No. 157B.
F-13
¥=1^
^
it
^
■^
^=^
One morn-ing, one morn - ing, — one morn-ing in May-
:*
^
^
it
h
spied a fair cou - pie a - mak - ing their way; But
12
NORTH CAROLINA FOLKLORE
m
fi3
-fc^
la - dy and the oth - er
sol - dier —
I
the
Who'd
\ 5
fit
wars,-
free vol - un - teer. —
giJ^-^^Kr:
:^=^
-P'r—Py-
-t-f-
— f* — I — w
±=tn
5
#->,—>
For melodic relationship of. **BSO 230, No. 103 and JFSS (1905-6)
9, first two measures, general melodic line, with ours. This holds likewise true
for all the other versions.
Scale: Mode III. Tonal Center: c. Structure: abbia^ (2,2,2,2). The tonal
center is the lowest tone.
A(I)
'One Morning in May.' Anonymous contribution without date or place. There
are slight melodic as well as metrical differences in this recording which are
given under variations. In spite of the very strong similarity to the Miller
version, it can be observed here what a rhythmical alteration can do to a tune.
This melody assumes a sort of restless driving quality. There is a slight differ-
ence between the ms score and the recording. The melodic line, measure 6
(in the score 3/8, measures 11-12) is a-c-a instead of g-c-a as in the score,
and rhythmically, the quarter g and dotted eighth c in the score is found in the
recording as given below. The "who has" of the text requires two sixteenth
notes instead of the one in the score. Almost the entire tune is identical with
that of G-16.
F-14
ifi:
8 ' Z?
One
morn-ing, one morn-ing, one morn - ing in May I
?
^
^
spied a fair cou - pie a - mak - ing their way; But
(^)
-9 r-
— fv-
V-
*
s
^
IV-
■
^^i — i—
— »l —
— ^—
— >!— — y—
— *~j — "
1
— ^ —
#
— t'' —
^ ?'
— - —
— ^ —
-I
one were
dy and the oth - er a sol - dier
i
-^^
#
-^ :ir-
un - teer.
Who had fought in the wars,- a free vol
COURTING SONGS
13
1 and 7
h 1 \
=tc=:
^>— • «^ \-H-J-
8 and 5
f) s.
fi
ifc^-^^^-n^— r=
_^ ^ 4|_^l N S 1^ ^
— r 1* ■?^ — h 1— — 1 ^ r —
— ^ -i
^^^v-» — ^ — \p — i/—
E — ^\f^^ — • — ^ — "H^
For melodic relationship cf. ***OFS i 269, No. 58E. Our first two meas-
ures are identical with all that is given there.
Scale: Hexatonic (4). Tonal Center: c. Structure: abb^a^ (2,2,2,2). The
tonal center is the lowest tone.
'One Morning in May.' Collected by Dr. W. Amos Abrams at Boone, Watauga
county, September 1937. No singer given. In one stanza, the first two
micasures are repeated before continuing ; in another, measures 3-4 are re-
peated. This tune is closely related to the Miller version (13A) as well as
the anonymous version, i3A(i). It is interesting to observe what can happen
to a melody at the hands of various singers.
F-is
=^
>-H-'
-J— zi— * —
One morn-ing, one morn - ing, — one morn-ing
May — I
I
met
fair cou - pie
a - mak - ing their way; — And
5
^^^^
one was a maid - en-
so bright and so fair And the
J- -J-
oth - er
sol - dier and a brave vol - un - teer.
1-2
— N-
^^
--A
For melodic relationship cf. **As 136A, beginning and ending.
Scale: Mode III. Tonal Center: c. Structure: abb^ai (2,2,2,2). The tonal
center is the lowest tone.
14
NORTH CAROLINA FOLKLORE
'One Morning in May.' Sung by Miss Lizzie Fincher. Recorded at Monroe,
Union county in 1922. Both this and the following version, in their initial
measures, show some relationship with the preceding tunes. Between them-
selves there is additional similarity in the endings. The ms score and the
recording differ in one slight detail : the third beat of measure five is d" in
the recording and c" in the ms score.
F-16
il
t^
t^
:8:
• ^ ^i ^
One morn - ing, one morn - ing, one morn - ing in May I
spied
fair
pie
wan - d'ring a - way;
It:
The
One was a la - dy as fair as could be,
^
— K-
was-
oth - er
sol - dier and a brave lad
he.
For melodic relationship cf. **OFS i 266, No. 58A and SharpK 11 193, No.
145C; *SFLQ II 154.
Scale: Hexatonic (4). Tonal Center: c. Structure: abb^a^ (2,2,2,2). Every
phrase cadences on I. The tonal center is the lowest tone.
'One Morning.' Set down by Owen Wister, June 7, 1915, no place given.
Excepting one evident error of omission on the part of the copyist, the anony-
mous version as given on ms score 197 is identical with that of another ms
giving Owen Wister as the author. The latter version, according to a note
by Dr. Newman I. White, was discovered among old papers, but "too late for
cataloguing." The note also states : "Not of N.C. provenience." This, no
doubt, refers to the text of that version. The other version spoken of above
was catalogued and the source given as anonymous. The only text given is
that of the beginning : "Good morning, good morning." This is the second
stanza of version A as given in III 24. As tlie handwriting in both ms scores
is definitely that of two different copyists, the mystery deepens when we con-
sider the fact that both melodies were noted in the key of A (here transposed)
and show a tempo indication of Allegretto. The text of both, as stated above,
is different. This would eliminate the assumption that one is merely a copy
of the other. One more factor. There is another version by Miss Lizzie
Fincher (13D), the first two measures of which are identical with those of
COURTING SONGS
15
this version (13E) and closely related to the two remaining versions. Still
two more factors must be mentioned. The structures of all five versions are
identical, and melodically (excepting the Owen Wister version), the second and
last measures are identical in all.
F-17
-8--*-
^
^—* — »^
'Good mor - row, good mor - row, good mor - row,' said she. 'And
where are you
- ing, fair la - dy?' said he. 'I
-J- -/' *-
go
ing to the bank, to the bank of Lo lee For to
t;
^
:A— #-
^=^
see the wa - ter glid - ing, hear the night - in - gale sing, For to
3?
^
^
I
see the wa - ter ghd - ing, hear the night - in - gale sing.'
For melodic relationship cf. ***SFLQ 11 154; **OFS i 266, No. 58A, first
six measures; BSO 230, No. 103 and BSM 241, No. D.
Scale: Hexachordal. Tonal Center: c. Structure: abb^a^aS (2,2,2,2,2) =
abb^ai (2,2,2,4). The tonal center is the lowest tone.
14
No, Sir
'No, Sir.' Sung by Jessie Hauser of Pfafftown, Forsyth county. Recorded
at Durham, July 26, 1923. In the basic melodic outline all three versions F-
18, F-19, and F-20 are alike. F-19 is the only one that does not repeat the
phrase of the chorus.
These are the actual sounds produced
while the singer states an emphatic
"No" in the fourth measure of the
chorus.
No, sir.
m
i6
NORTH CAROLINA FOLKLORE
F-18
-f^-^
m
:4:
2. 'My fa - ther was a Span - ish sea - man, And, be
i ' ^
fore
n
he
went to
sea. Told
me
to
be sure and
Faster
an - swer
. u
1 1
A
^ 1 ' ■■
1 1 In*
N»
((v\ ^
i>
!"^ l-^
II -' •<
i »^
v^M
J • •
1
#
ey -I
•
» m
-^-'
*No' to all you said to me.' No, sir,
no, sir,
i
I
no, sir, no, sir, No, sir, no, sir, no, sir, no.
For melodic relationship cf. ***OFS iii 104, No. 385.
Scale: Hexatonic (4). Tonal Center: c. Structure: abacdd^ (2,2,2,2,4,4) =
aa^bbi (4,4,4,4). The tonal center is the lowest tone.
B(I)
'No, Sir.' Also with the title 'The Spanish Merchant.' Sung by Mrs. Ewart
Wilson. Recorded at Pensacola, Yancey county, September 1929. Excepting
the chorus, F-18 is almost identical with this version.
F-19
3^
^
i
^^«-
2. *Fa - ther was a Span - ish mer - chant, And, be
5^
^
i^^^
fore he went to sea, Told me to be sure and
i
*:
E
^
^
an - swer *No' to all you said to me.' No, sir,
3
^
i£
no, sir, no, sir.
No-
no, sir,-
For melodic relationship cf. **OFS in 104, No. 385.
COURTING SONGS
Scale : Heptachordal. Tonal Center : c. Structure : abacd (2,2,2,2,6) = aa^b
(4,4,6) =nimin = bar. The tonal center is the lowest tone.
'No, Sir.' Sung by Miss Aura Holton. Recorded at Durham in 1921 or 1922.
First two measures remind one of 'Last Rose of Summer.'
F-20
It
^
^m
'Tell me why, oh tell me tru - ly, Tell me
^
-JS--
^g
why you scorn me so. That each time I ask a
^
— ' "^ —
ques - lion, You al - ways an - swer No?'
m
No, sir, no, sir. no, sir, no, sir.
For melodic relationship cf. *OFS in 104, No. 385.
Scale: Heptachordal. Tonal Center: c. Structure: abacd (2,2,2,2,8) =
aa'bb (4,4,4,4). The tonal center is the lowest tone.
17
I Wouldn't Marry
'I'm Determined to Be an Old Maid.' Sung by Mrs. Ewart Wilson. Recorded
at Pensacola, Yancey county, in 1929. The ms score taken down by Miss
Vivian Blackstock as mentioned in III 32H, could not be found. The tune
for the stanza also serves for the chorus. For additional varied text cf.
FSF 156-7.
F-21
^
i
tj
U)-
rii
not mar - ry
that's rich. For
^
^
±=±=±:
he'll get drunk and fall in
ditch; So I'll not
NORTH CAROLINA FOLKLORE
^^
i^
^^m
mar - ry at all, at all, And I'll not mar - ry at all. —
For melodic relationship cf. ***Texas FS 218, measures 4-8; **DD 160,
first and last two measures.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
'I'm Determined to Be an Old Maid.' Reported by Mrs. Sutton as heard at
Lenoir, Caldwell county, in 1917. Name of singer not given. This version
gives only the melody for the chorus. No additional tune is given for the
stanza, but the latter can be sung to the melody of the chorus. The score given
below represents a revision of the ms score. In the original, the first c in the
second measure was a dotted half-note. Thus, not only the textual rhyme
of "shade" and "maid" came on a different beat in their respective measures,
but also the melodic correspondence of measures i, 3 and 5 was obliterated.
Having said this much, it was not deemed necessary to place a hold above
the c which was shortened in the process.
F-22
Chorus
V 0
1
/ -^ ^ fL
lf^^ 0 ^
[<^
N 1
s
s.
1
1 1 m
\>) Z J t\
1 1 - *
I'm de - ter-mined to
be
■4-
an
-#- -#-
old maid;
-4-
['11 take my
/
^ ^ 1
y 1 1
'v'\ \ 1 1 i'*' ^
~\
V^J 1 J ! ! !
\ J J
J W «! ^
stool and rest
n
in the
0
shade,
•
And
I'll not
mar - ry a -
y 1
1
/\ 1
1
K K
— s<
irn m m
V
1' 1
1
•^ 1
\>\) • •
• J 1 1
J ^ 1
1
tj
- ^
-^
^
•
-^
tall, a - tall. And I'll not mar - ry a - tall.
Scale: Tetratonic (4). Tonal Center: c. Structure: aa^a^b (2,2,2,2).
*An Old Man.' Sung by Mrs. Ephraim Stamey. Recorded at Altamont, Avery
county, July 14, 1940. Also called 'The Old Man.' Our first stanza is the
third as given in III 34M. Our second is the first, but altered, our third is
the fourth as given there.
F-23
^
EM
3. I'd rath - er mar - ry a young man With for - ty
COURTING SONGS
19
S=i—t=^
1 N r> >- I
w^=^^^
n
— J-. H^ ^ ^^ J
L_*_^ i ^ g « 1
a — J — ^
cows to-
milk Than to mar - ry
old man With
g
1
-A — ^-
skin in sat - in and silk. The old man, the old man,
i
3
The old man he is gray, The young man's heart is
I
m
full of love. Get a - way, old man, get a - way.
3^
For melodic relationship cf. *BSSM 420, first measure and our first two.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aa^bb^a^a^abi
(2,2,2,2,2,2,2,2) = abaaibi (4,4,4,2,2). The a^ and b^ represent the first two
measures of a and the last two measures of b respectively.
2nd stanza (first in 17M, but altered) :
I'd rather marry a young man,
I tell you the reason why :
His face is never ,
His chin is always dry.
3rd stanza (4th in 17M) :
The old man he comes poking in,
'I'm tired of my life' ;
The young man he comes skipping in,
'Come kiss me, my dear wife.'
'Old Maid's Song.' Sung by Alexander Tugman. Recorded at Todd, Ashe
county, in 1922. The notation of the ms score was changed from 4/4 to 2/2
This tune will also fit the text of 'I Won't Marry at All' (17J) by the same
singer. Compare the beginning with that of the anonymous version (17L).
The first two measures are the same as in the song 'Oh, it Ain't Gonna Rain
No Mo'.'
n h
F-24
1
y 1 i' 0
X b ^
K
s
n
n
1 ' '
fn\^ <•> t
J
r ; ■ 1 !
___ J
." . .
V-L) Z •
•
J
J
J
^
J
d
I'll not mar - ry
man that's young, For he'll
20
NORTH CAROLINA FOLKLORE
3
-3^
give me a piece of his tongue; And — I'll not mar-ry a-
ifc
I
-^
w.
tall, a - tall, And I'll not mar - rv
tall.
Scale: Mode III. Tonal Center: e-flat. Structure: abed (2,2,2,2). The
tonal center is the lowest tone.
'I Wouldn't Marry.' Contributed by Thomas Smith of Zionville, Watauga
county, in 1915. Singer's name is not given. The notation of the ms score
has been changed from 4/4 to 2/2. The text in the fifth measure is missing. For
an additional text cf. SharpK 11 381, No. 272. The beginning somewhat
resembles that of version 17M.
F-2S
^
old — man. And I'll
would not mar - ry
i
1
w
tell you the
n^ 1 1
rea
- son why:
His
nose
is
1
nev - er
Ank 0 — 1 — — Y-
1 1 ("> 1
\—
1
M \
f7s—\ • — ^ — i-^
— 1^—
—li ^ •^-
-1^. J—
— 0~r
d d •
\A) •
^ 1
- - - His shoes is nev - er
dry.
sol - dier boy, a
i
^-
I
-r^^^
sol - dier boy.
sol
dier bov for
If
^
i£
get mar - ried
sol - dier's bride I'll be.
For melodic relationship cf. *BSSM 420, No. 174, first two measures;
SharpK 11 381, No. 272, melodic line of first two measures of chorus.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : aa^ba^cd (2,2,2,2,4,4)
■=^ Reprisenbar + strophe.
COURTING SONGS
21
19
When I Was Single
'I Wish I Was Single Again.' Sung by Miss Jewell Robbins. Recorded
at Pekin, Montgomery county, in 1922. Cf. remarks to F-27.
F-26
mar - ried a
wife,-
ha-
mar - ried a
N N ^
p N r
S
0--—0-
• s •-
wife a - ha I mar -ried
wife, the bane of my life,
^*—
s
— \ —
^
— ^ —
H h
» ,
--rv-
— • — '
^ —
IS
— ^^
—i —
— ^ —
— ^
L_^'_^ 7J—
— '^
—^ °
And I wish I
sin - gle
gam.-
wish
gle
gam,
I wish I
V
sin - gle
gain;-
When
was sin - gle my
^
pock-ets did jin - gle, I wish I was sin - gle a - gain.-
For melodic relationship cf. ***PTFLS, No. vi 232, first six measures;
FSF 154, and OFS in 66, last four measures and chorus; *ABFS 156 B;
AlemM 78, last three measures.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: 11: aa^bb^ (2,2,
2,2): II .
'When I Was Single.' Sung by J. C. Knox. Recorded at Leland, Brunswick
county, between 1922 and 1924. ms score notation has been changed from C
to 2/2. The last four measures are almost identical with those of the J. Robbins
version (F-26).
22
NORTH CAROLINA FOLKLORE
— 1
fv-
— ^-
1
1
F-27
/i^< — 1
3
fs
-J-^
— 0 —
-J—
^
1
0 '
' — cJ •
\
^
—•—=•-
•
When I
was sin - gle, oh! then, When I
I^
sin - gle, oh! then. When I was sin - gle my pock - ets would
I
jin - gle, And I wish I were sin - gle a - gain.
For melodic relationship of. ***OFS iii 66, No. 365 A; ABFS 156B; FSoA
77; FSF 154; Ford 327; **ASb 47.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aa^bbi (2,2,2,2'^
II
DRINK AND GAMBLING SONGS
20
The Drunkard's Hell
'Dark and Stormy Night.' Sung by Mrs. Nora Hicks. Recorded at Mast's
Gap, Watauga county, September 5, 1940. The singer gave the title as 'The
Drunkard's Confession.' The text is more like 20-C, however. In eight mea-
sures we have here two (full) authentic cadences. It is quite noteworthy that
all three versions have basically the same rhythmic pattern, which consists of
the first measure with up-beat. Closely related to F-29.
F-28
i
p
^
There was a dark and star - less night I
~» —
saw
and
^^B
^
heard an aw - ful sight. The light - ning flashed, loud
rt
^
?t=i;
thun-der rolled A - cross my dark, be - night -ed soul.
For melodic relationship cf. **OFS 11 409, No. 313, first four measures, also
the ending.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
'On a Dark and Stormy Night.' Sung by Dr. I. G. Greer. Recorded at Boone,
Watauga county, in 1915-16 or 1921-22. Here again we have two full or
authentic cadences within eight measures. The entire song is closely related to
F-30.
F-29
__^ ^
On a
dark
S
and storm - y night
I saw and
24
NORTH CAROLINA FOLKLORE
n
y 1
1
J i
y
"<• ^
r> •
1
^
^) ^ ■
— ^ «
-^ — ^^ — \ — J — h—
-
<
^1
t;
-•-
' — 1
heard an aw - ful sight. The light-nings played, loud thun-ders
1
-ri-
^
-^-X
^
rolled A - cross my dark, be - night - ed soul.
For melodic relationship cf. **OFS ii 409, No. 313.
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (2,2,2,2),
'Drinking Song.' Sung by Aunt Becky Gordon. Recorded at West Asheville,
Buncombe county, July 19, 1939. The beginning as well as the ending is quite
similar to that of F-28, slightly less to F-29.
F-30
E2EJ
'Twas on a dark and drear - y night I heard and
:^
saw an aw - ful sight. The wind did blow, far down be
s
i
low Where all the
4-5 ,
dy
ing drunk - ards go.
3
For melodic relationship cf. *OFS 11 409, No. 313.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
21
The Drunkard's Doom
'The Drunkard's Doom.' Sung by Dr. I. G. Greer, recorded at Boone,
Watauga county, in 1915 or 1916. Compare measures 3-4 with those of F-6
and F-8; this melodic idiom seems to enjoy almost universal popularity.
DRINK AND GAMBLING SONGS
25
F-3I
1^
;it=i:
±=^
^
man — at ear - ly dawn Stand-ing
-y^
1
*
#
»
• T (• •
^
;
_* _
s*
^
^
r
r
r
fCr \ r 1 1
1
\j
\j
\>) ; , ' 1
'
1 1 , r r
tJ
^
'
'
1
by the grog-shop door;
His eyes was sunk, and his
7^^— 1 — ^ 7 n ^ r — h-
1^^ \ ^* m
€^^ — J ^ / J J — ^
—^t--^ — ^,^4-^ — ^ 1
lips was — parched; And I viewed him o'er and o'er.
And
i
9
tfiat's the drunk-ard's doom;
His eyes was sunk, and his
I
m
-^ — ==1 ^-
lips was — parched. And that's the drunk-ard's doom.
For melodic relationship cf. ***FSoA 58, measures 3-5 and 9-1 1 ; **OFS 11
392, No. 306; BSO 308, No. 142; FSmWV 82; BMFSB 17.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abb^cbbic
(2,2,2,2,2,2,2) ; the c is slightly related to a ; compound structure : a plus mm^n
plus mm^n = strophe plus bar plus bar.
The Drunkard's Dream (i)
'The Drunkard's Dream.' Sung by Miss Lura Wagoner. Recorded at Vox,
Allegheny county, in 1921 or 1922. For additional text cf : SFLQ v 144.
F-32
i
i
&
^=
'->,
§
'Oh, Ed - ward you look so hap - py now; Your
clothes are neat and clean ;-
nev - er see you
26
NORTH CAROLINA FOLKLORE
I
±
^
drunk a - bout. Pray,
For melodic relationship cf
least the terminal cadences coincide
tell me where you've been.' —
**OFS n 395, No. 307C; *AMS 41. At
Scale : Hexachordal. Tonal Center : c. Structure : abed (2,2,2,2) ; there is
some relationship between a and b as well as c and d. The tonal center
is the lowest tone.
'The Drunkard's Dream.' Sung by Mrs. Minnie Church. Recorded at Heaton,
Avery county, August 10, 1939. The Churches lived on Dark Ridge, End of
Nowhere Branch, Beach Creek, P. O. Box, Heaton. Mrs. Minnie Church
has been reported living in Detroit, Michigan, 151 1 Calvary Street. There
is considerable relationship with F-670.
F-33
^
iJ:
^
'What makes you look so
heart
now? Your
*
EPi
^
dress-
looks neat and clean; I have not seen you
i
i
:^=^
it
^=^
drunk a
bout.
Pray, tell me what this means.'
For melodic relationship cf. **OFS 11 395, No. 307C, initial phrase almost
identical ; final phrase shows slight resemblance, but what a difference between
the two songs; MSHF, No. i.
Scale: Tetratonic (2). Tonal Center: e(m). Structure: abac (2,2,2,2) =
aa^ (4,4). The tonal center is the lowest tone.
25
The Drunkard's Lone Child
'God Pity Bessie, the Drunkard's Lone Child.' Sung by Miss Jewell Robbins
of Pekin, Montgomery county. Recorded at Durham in 1921. The music
definitely demands two stanzas of the text given in III 51. It is another
question whether the second half should be considered as chorus or not. Here
it was designated as such.
DRINK AND GAMBLING SONGS
27
F-34
^
4i=st
£
Out in
the
cold-
wan - der a - lone, With
l^
--^
i
no one to love me, no friends, no home. Dark is the
¥
^
night and the storm rag - es wild. God pit - y Bes - sie, the
n=?c
drunk -ard's lone child! 'Moth - er, oh, why did you
"^1=^
(•
•
rri
— ^ — f-
-f — f-
—f—
—f—
— f
63— U=
H— —
V
• — i*—
— U U—
-V-
-l>—
— E —
leave me a - lone With no one to love me,
; ; r. S-UL_^.^
^
friends, no home?' Dark is the night and the storm rag - es wild.
^
^
God pit - y Bess - ie, the drunk-ard's lone child!
For melodic relationship cf. *OFS 1 1 398, No. 309A.
Scale : Hexachordal. Tonal Center : g. Structure : aa^bb^al (4,4,2,2,4) =
aa^ba^ (4,4,4,4) = Reprisenbar. The tonal center is the lowest tone.
27
Be Home Early
'Be Home Early.' Sung by Mrs. L. F. Banks. Recorded at Alliance, Pamlico
county, in 1927. This is the J. P. Boyd text.
F-35
-^ — ^-
:^
^
^^--
I have trav - eled through life, I have seen man - y a thing
*:
SI
That sur - prised me
ry-
form.
have
28
NORTH CAROLINA FOLKLORE
been at the
I have been at the plow From
i
=g=^
w
dark till sun - rise in the morn. Be home ear - ly to-night,
^
my dear boy, my dear boy, Be home ear - ly to - night.
S d fS i^ i N H ^1 1- 1
my dear boy.
Don't spend all your mon
ey
to
i
-^^-
gam - ble and drink. Be home ear
Scale : Heptachordal. plagal. Tonal Center : c. Structure : aa^aa
a- is a modification of a^.
ly to-night, my dear boy.
(4,4,4,4) ;
28
I Wish I Was a Single Girl Again
'I Wish I Were Single Again.' Sung by Miss Mamie Mansfield. Recorded at
West Durham in 1922. There is no tune for the chorus, but the melody
of the stanza will serve quite well.
F-36
^Ei
=t
4. When
gle, de world at my feet;
:^fc
tf
Now I am
spoken
mar - ried, it's corn - bread and meat. Oh,
11
i
Lord, I
wish
I was a sin - gle girl a - gain.
DRINK AND GAMBLING SONGS
29
Scale : Mode III, plagal. Tonal Center : e-flat. Structure : mm^n ("4,4,4)
bar.
'The Drunkard's Wife.' Sung by I. T. Poole from Morganton, Burke coun-
ty. Recorded at Durham, June 1920. The signature given in MS score was
changed from C to 2/4. The catalogue gives the title as : 'The Drunkard's
Life.'
F-37
-N-
r#:
^
Two lit - tie chil - dren,
all
small;
i
r=?c
i
Nei - ther one
large e - nough to help
at
-A-
^^
all. Oh,
wish I
sin - gle girl
gam.
i
^^=^
1^
^^1
— — - — ' ' s ' — ^ — ,^--^
Oh, I wish I was a sin - gle girl a - gam. —
For melodic relationship cf. *FSUSA 48. The basic points in the melody
coincide in both versions.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: aba^cdd (2,2,2,2,4,4)
— aa^bb (4,4,4,4).
29
Seven Long Years I've Been Married
'Seven Long Years I've Been Married.' Sung by Obie Johnson. Recorded at
Crossnore, Avery county, July 14, 1940. The variations given below under 3,
4-5 go with the third stanza; the fourth and fifth stanzas were here contracted.
Same melody for chorus.
F-38
m
^
^^
For sev - en long years I've been mar - ried. And I
30
NORTH CAROLINA FOLKLORE
^^
-^ *_,,'
wish I'd lived an old maid. — My hus - band took- to
d:
-i&-
I^Z;
drink - ing; And now he won't work at his trade.
1 .2 3
' ^"- J..
^ *
* • *
(only once)
5^
^^^^
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
2nd Stanza :
I have to get up in the morning,
Work and toil all day;
At night I have to get supper
And put the dear children away.
3rd stanza :
I have a ship on the ocean
A-laden with silver and gold;
Before I have another man
I'll have my ship anchored and sold.
4th and 5th
stanzas :
It's a beautiful life on the ocean,
It's a beautiful life on the sea,
It's a beautiful life on the ocean;
My love I have waited for thee.
Chorus :
Oh, boys, go down to the bar room
And get him up if you can.
For girls, you never have trouble
Till after you've married a man.
A(i)
'Seven Long Years.' Sung by Miss Beulah Walton of Morrisville, Wake coun-
ty. Recorded at Durham, July 25, 1923. Another title given is : 'Wish I'd Lived
an Old Maid.' The second half of the tune shows a close resemblance to
'He is a Jolly Good Fellow.' Chorus only. There is a slight similarity in
the beginning to that of F-38.
DRINK AND GAMBLING SONGS
31
F-39
Chorus
^
i
^
3^
=^^
Off to the bar - room he stag - gers. Go bring him
m
^
back if you can.
Young girls, you have nev - er seen
^
1
trou - ble Un - til you mar - ry a man.
Scale: Hexachordal. Tonal Center: c. Structure: aa^a^b (2,2,2,2). The tonal
center is the lowest tone.
'Seven Long Years I've Been Married.' Contributed by Mamie Mansfield of
Fowler School District, Durham county, in July 1922. This tune is closely re-
lated to that of F-39.
F-40
i
^^i
rfi^
ii
2, Sup - per to get for the chil - dren, —
And the
^1^
:k=45:
^
^
ta - ble to all clear a - way, — And off to the ale - house
J^^-^^
r=J:
To fetch him a - way if I can. — Now, girls, you'll
1^-r-±-
^^
i^fe^
I
m^
±
nev - er see trou -ble
Un - til you are tied to a man.
Scale : Pentachordal. Tonal Center : f. Structure : aa^aa^ab (2,2,2,2,2,2) =
aaa (4,4,4) ; the first of b is identical with that of a.
32
NORTH CAROLINA FOLKLORE
31
I'm Alone. All Alone
B
'I'm Alone.' Sung by Miss Pearl Webb. Recorded at Pineola, Avery county,
in 1921. There is no melody for the stanza; with considerable rhythmic adapta-
tions that of the chorus could be used, however. The same melodic idiom in
the beginning as in the liturgical Gloria.
F-41
Chorus
-f-T 1
1 i 1
1 1 1
/ '^ \ 1
1
1 1 1
If ^ C\ 1 1
m
i
^ 1
\>^) A ! 1
1 •
G> w « 1
kJ
»
m
ej
I'm
lone,
all
lone,
and
-f — \ 1 — \ — 1
-1
y ! ! 1
^-
1 .
FY
^ •
m
V
«
Sl
^ ; »
^
*j
CJ
•
(^
feel
I'm grow - ing old.
Yet
I wan - dered,
^^
^
E
oh, how lone - ly! I am shiv-'ring in the cold.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2). There
is a slight relationship between a-c and b-d.
32
Old Rosin the Beau
'Old Rosin the Beau.' Sung by Miss Jean Holeman. Recorded at Durham in
1922. There is no chorus recorded, but the second half of the melody would
well serve for this purpose. Our melody is closely related to that of 'Down
in the Willow Garden' (IV 146, 67B), likewise to the Lunsford version
(F-43).
F-42
W
^
i
live for the good of my
tion,-
And
t=:t-
^
my sons are all grow - ing low, — But I hope that my
^^
5
^^
-^
^
next gen - er
tion — Will re - sem - ble old Ros - in the
i
DRINK AND GAMBLING SONGS
33
r
Beau.
I've trav - eled this coun - try all o'er-
And
^
^
:i jr'
now to the next I will go,-
For I know that good
m
■.^_j_ij
f
i
quar-ters are wait - ing — To wel-come old Ros - in the Beau.
For melodic relationship cf. ***JAFL xxviii 135, measures 1-2 and 5-6;
RaW 38; OFS IV 372, No. 846 (only the chorus is missing) ; ASb 167 and
381; WSSU 167, 'Sawyer's Exit'; *ASoWS 164, No. 292; Ford 56; OFS
III 238, No. 474; ibid. IV 372, No. 846.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: ababicbabi
(2,2,2,2,2,2,2,2) = aaibai (4,4,4,4) = Reprisenbar. In this over-all form,
the ending of b is like that of a.
32(1)
'Old Rosin the Bow.' Sung by Bascom Lamar Lunsford. Recorded at Turkey
Creek, Buncombe county. No date. With regard to the different spelling
of Bow, cf. remarks by Professor Beldon in BSM 255-8, also OFS iv 371.
For different texts cf. OFS in 134-5.
F-43
^
^
1:1:
Way down
^
on the south - side of Kir - by-
Some
^
^^
sev - en - ty years- a - go,
I was bom a sweet ht-tle
^t^
^
-IV-
^:
ba
by They- chris-tened me Ros - in the Bow.—
H
3
They cliris - tened me Ros
the
Bow,-
They
34
NORTH CAROLINA FOLKLORE
W.
W^
chris-tened me Ros - in the Bow, I was bom a sweet
^
^J
S
i
lit - tie ba - by They chris-tened me Ros - in the Bow.-
later stanza
^
-* — & &-
-* — #-
i
^
-• — #-
ii
m
d d •
^
^
-•r-d-
• • ^
^
&2:
I I -LU
H & <5^
For melodic relationship cf. **Ford 56; OFS iv 372; *ASoWS 164, No.
292.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : aba^b^cda^bi
2,2,2,2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar.
32(2)
'Old Rosin T Beau.' Sung by Mrs. Elizabeth Logan Schinhan as learned from
her father, George Herndon Logan at Kings Mountain, Cleveland county, in
1915. This tune is closely related to that of 'Down in the Willow Garden'
(IV 146, No. 67B).
F-44
ife
S
ifc
^
When I was young and pret - ty,-
The girls all
f^^
called me their beau.-
But now that I'm old and
I
ug
lyr
They call me old Ros - in
Beau. —
DRINK AND GAMBLING SONGS
35
For melodic relationship cf. **Ford 56, basic melodic similarities ; OPS
IV 372.
Scale: Mode III, plagal. Tonal Center: f. Structure: aba^c (2,2,2,2) =
aai (4,4).
33
Little Brown Jug
A
'Little Brown Jug.' Anonymous singer. No place or date given. Cf. MSON
30-1 for a different version composed by Eastburn.
F-45
±3
m
I^S
^
i
My wife and
lived all
lone In
S
ii^
lit - tie log hut we called our own. She loved gin and
?
I loved rum. Tell you what, we'd lots of fun!
f
S
Ha, ha, ha, you and me, Lit - tie brown jug, don't
I love thee! Ha, ha, ha, you and me.
i
i
Lit - tie brown jue, don't I love thee!
For melodic relationship cf. ***JAFL xxxiii 109; ABFS 176; **Ford 33;
OFS III 141, No. 408A and MSON 30-1, both measures 1-2 and 5-6.
Scale: Hexatonic (2), plagal. Tonal Center: b-flat. Structure: aba^bicdcd
(2,2,2,2,2,2,2,2) = aa^bb (4,4,4,4).
36
I'll Never Get Drunk Any More
'I'll Never Get Drunk Any More.' Sung by Bascom Lamar Lunsford.
Recorded at Turkey Creek, Buncombe county, about 1921. The text of the
stanza is that of the A version.
36
NORTH CAROLINA FOLKLORE
F-46
S:fi
S;
As I go out on Sun - day What pleas - ure do I
see? — The one I loved go dear - ly Has gone square
i=^=N
^^E^
back on me.
ru
1^
nev - er get drunk an - y more, I'll
^v-^
±=i;
nev - er get drunk an - y more, — I'll hang my head in the
-Pv-
mm
bar - room door, I'U nev - er get drunk an - y more.-
1-2 , 9-1 'i
^^
-^
^
:^
For melodic relationship cf. **OFS 11 413, No. 316.
Scale: Hexachordal, plagal. Tonal Center: e-flat. Structure: abcdaibkidi
(2,2,2,2,2,2,2,2) =abaibi (4,4,4,4).
37
Show Me the Way to Go Home, Babe
B
'Oh, Goodbye, Babe, Forever More.' Sung by Miss Jeanette Cox. Recorded at
Winterville, Pitt county, in 1921. The second stanza given in III 68 is the
chorus in this version. The basic melodic idea of tliis tune is an old German
music hall ditty: 'Und ich hab sie ja nur auf die Schulter gekusst.' It is in-
teresting to note that the scale material of the chorus is strictly pentatonic,
whereas the stanza adds some extra tones.
DRINK AND GAMBLING SONGS
37
F-47
:£
--N -+^
^
Oh, good bye, babe, for - ev - er more. My booz - ing
^fcs:
m
--N-
days will soon be o'er. I've had a good time, as you may
si=2:
-=^-^
see;
Just see what booze has done for me.
^
— ---\^
Show me the way to go home, babe, Show me the
^-r— f^ 1
/k-^ 1 -zf
1 1
^ N- 1
S' ^ ^
— iS^-. '
— s w ■ — 1 1
1 , , ^ ,
way to go home;
ain't been so - ber since
last Oc - to - ber, Show me the way to
home.
Scale: Heptachordal, p]as;al. Tonal Center: g. Structure: ababicdef C2.2,2,
2,2,2,2,2). Taking the chorus as epode, we would have mm^n (4,4,8) = bar-
form.
'Negro Fragment.' Sung by Miss Jeanette Cox. Recorded at Winterville, Pitt
county, in 1921 or 1922. The first half of this tune is melodically identical
with the chorus of the previous version by the same singer (F-47). The text
ot 37D may also be sung to this tune.
-"^ ~*N.
/~\ u 0
^^
3 . K .
y ,\> A "
^, fc.
1 r V r t^
/ U u 4- S N
^ ^ ^
ri
f(\^\>\ r
1 _l^ _l^
m
n S S * d
\s) " <^ ^ J
m ^ ^
Show me
the way to
go
home, Show me the way to
U l7 k I
^ p
^
K N N . ,.
K
\ J K: r
/n\ i' i? i • • ; '
<
S
^
IS
\s\) "^ 4 1
•
m .
m d •
t)
^
go home; I ain't been so - ber since last Oc - to - ber;
38
p-f=f=r^^
NORTH CAROLINA FOLKLORE
IN \ "
-a-
:^
i
S
Show me the way to go home, babe, Show me the way to
1^
go home. Show me the way to go home; I've been drunk
-N
&
^
=r=1^
-ir^
for the last six months; Show me the way to go home.
Scale: Mode III, plagal. Tonal Center: a-flat. Structure: aba^b (2,2,2,2).
I
38
Pickle My Bones in Alcohol
'When I Die.' Sung by Miss F. Shuman in 1920. No location given.
F-49
5
W^^
And when
die
don't
bur - y me at
m
^
-:?
all;
Just pic - kle my bones
al
±z
W^\y=^
hoi, Place a bot - tie of booze at my head and
I
^
feet, So these old bones shall rest in peace.
Scale: Hexatonic (4), plagal. Tonal Center: a-flat. Structure: abab^
(2,2,2,2) = aai (4,4).
'O When I Die Don't Bury Me Deep.' Sung by H. H. Hanchey. Recorded
at Durham in 1919.
DRINK AND GAMBLING SONGS
39
F-50
^
?#
3a
m
-A N K-
^^
O, when I die, don't bur - y me deep, Put a jug of
it
m
^
zj=^.
i£
'las - ses at my feet, A cake of cawnbread in my hand;
1
^^?^*
So I kin sop my way to de prom - ised land.
Scale: Mode I. Tonal Center: b-flat. Structure: aaa^b (2,2,2,2). The tonal
center is the lowest tone.
40
Just Kick the Dust Over My Coffin
'Just Kick the Dust Over My Coffin.' Sung for this editor by
Mainer, at Weaverville, Buncombe county, in 1937.
W. J.
F-si
i
«
^
:t
t^
Just kick the dust
ver my cof - fin,-
Say,
^^^5^=^
N
i
-^ ^ ^
^t=^
__, js ^
=^-^
1
-0-
-.^-*=J
'There lies
jov - ial young lad':
PUe the
i
¥
=?
earth high up o'er my car - cass, — Then carve on the
i
^
— p — \-
-^--Jr
stone at my head:-
Oh, ain't it
a won - der
-0-
ful
i
±
¥
a man dead.-
sto - ry That love it will kill
For melodic relationship cf. ***MSNC 28.
40
NORTH CAROLINA FOLKLORE
Scale: Mode II, plagal. Tonal Center: c(m). Structure: abcdab^ (2,2,2,2,2,2)
^= aba^ (4,4,4). In the smaller subdivision, the d is related to c.
41
The Hidden Still
'Down under the Hill.' Sung by S. M. Holton. Recorded at Durham in 1921
or 1922. The editor of the text of this song (III 72) says: 'This little hymn
to the moonshiner's still I have not found elsewhere." Maybe it is due to this
writer's probable Irish ancestry in the distant past, that he was led to a volume
Irish Street Ballads, which, perhaps to Mr. Bascom Lamar Lunsford's dis-
appointment, contains a song entitled: 'The Real Old Mountain Dew,' pp. 128-9.
The second stanza given there is closely related to ours. The slight difference
between "perfume" and "smell" or "a whiff of the smell" and "poitin" (poteen)
for "licker" is, of course, negligible. Another interesting factor is that, although
the respective tunes of these two songs are totally different, the Irish tune
has lingered in the moist remembrance of the singers long enough to serve as
the vehicle for another favored song : 'The Girl I Left Behind Me,' ibid. 36-7.
It seems an old tradition with us to get our patriotic songs from some
bawdy or at least ribald and raucous tunes of 'wetter' days.
F-52
:2:
Down
un - der the hill
There
lit - tie still,
3
Where the smoke goes curl - ing through the air. You can
ly tell By the per - fume and smell
i^
^
^'
There is lick - er in the air close by.
For melodic relationship cf. **ASoWS 85, No. 130; OFS in 353-
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abab^- (2,2,2,2)
= aai (4,4). For comparison, the text of the Irish song is given:
1 For it fills the air with a perfume rare
And betwixt both me and you.
As home we roll, we can drink a bowl
Or a bucketful of mountain dew.
2 Now learned men who use the pen
Have wrote the praises high
DRINK AND GAMBLING SONGS
41
Of the sweet poit'in from Ireland green
Distilled from wheat and rye.
3 Away with pills, it will cure all ills
Of the Pas^an, Christian, or Jew;
So take off your coat and grease your throat
With the real old Mountain Dew.
(The author states that he heard this song for the first time in 1916 at a meet-
ing of newly released political prisoners.)
46
A Little More Cider Too
'A Little More Cider.' Sung by Mrs. Laura M. Cromartie. Recorded at
Garland, Sampson county. No date given.
F-53
:£:
m
m
i
i^
Oh, I wish I was a great big horse ap - pie And
-9 : \ i
y ] ^ N
N»
— J ps ^
l(^ _i ' • '
•^
J t « J d
V/ * # • • #
L_^ ^ 1
snow-flake was an - oth - er.
What a pret - ty pair
:fE
we would make Up - on the tree to - geth - er! A
i
lit - tie more
der,
der.
der,
^
^
1
ht - tie more ci - der too,
lit - tie more ci - der
^
for Miss Din - ah, a ht - tie more ci - der too.
For melodic relationship cf. **Ford 332, first half only and merely in
general melodic outline. Similarly, MSON 126 (stanza only).
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aa'a^b (4,4,4,4).
42
NORTH CAROLINA FOLKLORE
'A Little More Cider.' Sung by J. H. Burrus. Recorded at Weaverville,
Buncombe county, in 1922.
ci - der, A lit - tie more ci - der sweet - er.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
n^ "^
F-54
yrf A
^
s
s s.
K K
. N
s
/ ^ L
P N \
ft ^ A ^
V^ J 4- J
^
^ ^
^ ^
^
I
wish
I
was an
ap - pie
And Di - nah was
/ +
^ r P
• ~ N ^ '
... N ! ! !
fr^ r
'
1 _
^
"s rv
A * ' '
V. ; J J ^ .
i
4
an - (
)th -
er;
What
4 S
a hand - some time we'd have
y tt ^
IS
!S
t \
fc ^
N ^
N ^
/rk^ — J^
V^—
-J^ —
-J^ -^
— ^^ Si —
-4^ — ^ — h"^
— S — R —
m — ^ —
-* ^ —
^ •
— • • —
— « — 0 —
Hang - i
ng
on
a tree
to - geth -
er! A ht - tie
y tt ^
fkj
f»^
s
s
N ^ ^
• 1
tv N
K
S K
l?"\ m
J
^
r r
p •
\s) •
more (
;i -
der,
charm - ing
1
ci - der,
A lit - tie more
■ y S p.
N
1 s
^ N
^ N
/ '• P' ' J -;
N IV f
^^ « 1.
J
^
» J
J^ _J N N
l!^; • ^
w
• !
01 - de
r sweet -
er, A
* mm
lit - tie more ci - der, charm - ing
[^
^
^^ f^
\ ^ V 1
A N
_,^
^
_i^ J^
PI N
^ K 1 1
r ^ J
•
(^ _ _
S d
1^ 1
J J^ i ' 1
V- J m
J J
# • • II
tJ
4 •
47
Sucking Cider Through a Straw
'The Prettiest Girl I Ever Saw.' Sung by Mrs. Ewart Wilson. Recorded at
Pensacola, Yancey county, September 1929. The chorus given here does not
appear in the printed text found in III "jj. No. 47.
F-55
^
^
^
:±
*5^
The pret - tiest girl I
er saw — Was suck - ing
^^
^
der through a straw. The pret - tiest girl — I ev - er
DRINK AND GAMBLING SONGS
43
3t:
^-.
was suck - ing ci - der through a straw. —
^
i
-» 9 —
der, That's the
Ci - der, ci - der, suck - ing
m
s
way I won my wife. Ci - der, ci - der, suck - ing
i
i
I
■£i
It-
^
■" ^ _
ci - der Brought the hap - pi - ness of life.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: aa^bb^ (4,4,4,4).
49
The Journeyman
'Broom Field Town.' Sung by Mrs. Julia Grogan. Recorded at Silverstone,
Watauga county, in 1915 and reported by Thomas Smith of Zionville.
F-56
^^y^
^
^^
2. I
had
not been there two weeks, I'm sure
^
was not three.
Till
fell
love — with a
m
I
i
pret - ty lit - tie girl And
she
in love with me.
For melodic relationship cf. ***OFS rv 357, No. 835 A ; **BSM 376 B,
first and penultimate measures.
Scale: Mode III, plagal. Tonal Center: a-flat. Structure: abca^ (2,2,2,2) =
ab (4,4). The ending of b is like a. Circular tune (V).
44
NORTH CAROLINA FOLKLORE
50
Jack of Diamonds
'Jack of Diamonds.' Anonymous singer. No date given. Reported by Thomas
Smith. Our text is the last stanza in TFS 236 and OFS in 136, No. 405, stanza
4. Our stanza is the chorus in CS 292-6. Another title is 'Rye, Whiskey,
Rye Whiskey.' The score was noted by Dr. Brown. Measures 2-5 remind of an
old time Broadway hit.
F-57
:a
■" PS 1-
Jack of dia-monds, I know you, I know you of
^
^
old, — You've robbed my poor pock - ets of sil - ver and gold.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: abac (2,2,2,2)
aai (4,4).
'Jack o' Diamonds.' Sung by Bascom Lamar Lunsford. Recorded at Turkey
Creek, Buncombe county in 1921. For additional text cf. MSNC 8-9.
F-58
S?
Jt=3t
4^
Jack o' dia - monds, Jack o' dia-monds, I know you of
_ ' . , I ,
^
:s=T
-z^ — :
old,- You've robbed my poor pock -ets of sil - ver and gold.
For melodic relationship cf. **OFS in 136, general melodic line.
Scale: Mode III, plagal. Tonal Center: a-flat. Structure: abed (2,2,2,2).
Slight relation between c and a, as well as d and b.
'Ace and Deuce of Diamonds.' Sung by H. C. Martin. Recorded at Blowing
Rock or Boone, Watauga county, August 1936. In the recording all words
but one could be understood. The missing word sounded like "Danville," but
v/as too indefinite to be really certain.
DRINK AND GAMBLING SONGS
45
F-59
^M=J:
:t=t:
Ace and Deuce of dia-monds, How we jug-gled the bones.
I
0 "
Way down on the riv - er bank is my home.
Scale: Mode III, plagal. Tonal Center: b-flat. Structure: aba^c (2,2,2,2)
= aai (4,4).
SI
Shoot Your Dice and Have Your Fun
'Shoot Your Dice and Have Your Fun.' Sung by Howell J. Hatcher at Trinity
College, Durham, December 5, 1915.
F-60
i
£2=2=t
^
Shoot your dice and have your fun, I'll have mine when the
W-
po - lice come, Po - lice come, an' I did - n't want -a go;
^
^
Knocked him in the head wid
for
fo'.
Scale: Hexatonic (4). Tonal Center: c. Structure: abac (2,2,2,2)
(4,4). The tonal center is the lowest tone.
Ill
HOMILETIC SONGS
53
When Adam Was Created
'When Adam Was Created.' Sung by Mrs. Nancy Coffee. Recorded at Lenoir,
Caldwell county, in 1921. The record is impossible. Whoever transcribed
the music stated that after two measures no more could be heard until the
last eight measures and now even these are unintelligible. The ms score gives
no text and the text given in III 84-5 seems not to match our tune.
F-61
i
r^-^-j-
i
m
later:
s
?
■^ir^
-*—*-
^BJ
^■f=r-
?
^
^^
-^
For melodic relationship cf.
measures 1-2 and 5-6.
-^
*SharpK 11 272, measures lo-ii; DESO 76,
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: There are six
measures missing in the first part. The probable structure, judging by the
other versions would probably be abed (2,2,2,2). The chorus then would be
efcd (2,2,2,2). It is frequently the case that the ending of the chorus is related
to that of the stanza. The over-all form then is probably abed (4,4,4,4).
A(I)
'When Adam Was Created.' Sung by W. J. Mainer. The singer lived in
Weaverville near Asheville, Buncombe county, and was about ninety years old
when he sang the tune for this editor. He was over six feet tall, of robust
build, with a white, long-flowing beard, ruddy checks, and blue eyes, the very
image of a patriarch. His son still lives there.
HOMILETIC SONGS
47
F-62
i?i4 1 1 1 1 ^ J 1 J J 111 , =^
gl^_J 1^ J J ^ 1 -^ ^ J 1 J J J ^ j
When A - dam was ere - a - ted he dwelt in E - den's
i
\ I !
• ^ s
shade, As Mo - ses has re - la - ted, be - fore a bride was
i
j=d=^=f^
w
^^^
made. Ten thou-sand times ten thou - sand of crea-tures swarmed a ■
i
^^
1
w^
i
5^^^^
round — Be - fore a bride was formed or an - y help-meet found.
For melodic relationship cf. ***SharpK 11 272, No. 193. There are some
variations, however.
Scale: Mode III, plagal. Tonal Center: d. Structure: aa^a^a^ (4,4,4,4) =z
aai (8,8). Circular Tune (II).
60
Who Is My Neighbor?
'Who Is My Neighbor?' Sung by Carl G. Knox. Recorded at Durham in
1924 or 1925. The time signature given in MS score was changed to 2/2
with consequent increase in note values.
F-63
:2:
^
S
'Who is my neigh - bor?' Hear the poor Jew cry,
S^r r r
^^^^
I
'Who will a - yes - cort me? Help me ere I die.'
Scale: Mode III. Tonal Center: c. Structure: abac (2,2,2,2) = aa^ (4,4).
The tonal center is the lowest tone.
62
The Wicked Girl
'Wicked Polly.' Sung by Mrs. Minnie Church at Heaton, Avery county,
August 10, 1939. (Our catalogues differ from the date given in III 93).
48
NORTH CAROLINA FOLKLORE
The same tune will serve for the chorus. Observe the obstinate cadence
pattern in measures 1-2, 3-4, and 5-6.
F-64
-X. J J J-M
Young peo - pie who de - light in
sm,
I tell you
3
3
=tf=f
±it
has late - ly been:
la - dy who
=F
=*f3=
-^ — *—
young and fair, She died in sin and dark de - spair.
For melodic relationship cf. *WSSU 190, only the beginning "Young
people who."
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
'Poor Polly.' Sung by Oliver Proffitt. Recorded at Pick Britches, P. O.
Sugar Creek, Watauga county, July 24, 1939. Oliver was the small son of
Frank Proffitt.
F-6s
4s—
3
3E±
^
^
2. She said, 'Oh moth - er, if you please, To my dear fa - ther
, N N — , 1 fV
^
pray for me.
n
had died when I
--t^
9—^
young,
^^^^^N^
I would not
had this race
6 . 1
to
iSt
-K—
-^=f^
For melodic relationship cf. **FSF 171. Excepting measures 4-6. both
melodies are almost identical.
Scale: Mode III, plagal. Tonal Center: g. Structure: abb^ai (2,2,2,2).
HOMILETIC SONGS
49
64
Advice to Sinners
'Advice to Sinners.' Sung by Miss Fannie Grogan. Recorded at Silverstone,
Watauga county, April 16, 1916. There is no tune for the chorus as given
in III 95-6.
F-66
^
^
2^
:^=t
$
3
5
H^
i
Oh, Sin - ner, you'd bet - ter take heed
to
the
Z^
Sav - iour's word to - day.
You will fol - low the
^m
Chris - tian round and still you will not pray. God
^
i
V
in
m
his an - gry frown Some day will cut you
:s:
m
down, For your bod - y has to lie in the ground.
Scale: Mode III. Tonal Center: f. Structure: abbia^ (4.4,4.4)- The tonal
center is the lowest tone.
IV
PLAY-PARTY AND DANCE SONGS
67
Weevily Wheat
'Over the River to Feed the Sheep.' Sung by O. J. Burrus. Recorded in 1920,
no place given. Another title is 'Shanghai.' The ms score has been changed
from 4/4 to 2/2 and the beginning from up-beat to down-beat. There are four
different cadence-like resting points in the stanza. The chorus, although arriv-
ing at them in different ways, repeats these.
F-67
3. O - ver the riv - er to feed the sheep, O - ver the
m
to Char - lie, O - ver the riv - er to
Shanghai :
^
^
feed the sheep, Feed them well on bar - ley. Oh, wait a
lit - tie while, boy, We will all
go. Don't you
^^
^
-5^
know that old shang-hai Go ook ook 00k ook 00k?
For melodic relationship cf. **Owens 13, measures 1-4; *GSAC 171, mea-
sures 1-3; ABFS 290-1, measures 1-2.
Scale : Mode III, plagal.
Circular tune (V).
Tonal Center: g. Structure: abed (4,4,4,4).
PLAY-PARTY AND DANCE SONGS
51
'Weevily Wheat.' Sung by Miss Jewell Robbins. Recorded at Pekin, Mont-
gomery county, in 1921 or 1922. The catalogue gives this title. Observe the
two repetitions of the initial idea. This tune can be used for texts given
in I 104-6: A, B, F, G, H, and I.
F-68
l^
^
5
Flor - ence ran through the wee - vi - ly wheat, Flor - ence
^^
--(S-
run through the bar - ley;
Flor - ence fell down and
^
^
' ^ IJT
broke her neck And so she died for Char - ley.
For melodic relationship cf. *CRS, Kit 54, 142, measures 1-2.
Scale: Mode III. Tonal Center: c. Structure: aa^a^a^ (2,2,2,2). The tonal
center is the lowest tone.
69
Jennie Jenkins
'Julie Jenkins.' Sung by Mrs. Nancy Prather. Recorded at Milam, Ashe
county, August 5, 1939. (Cf. however III 102.) Another title is 'Jennie
Jane.' It is interesting to see the pentatonic idiom of the first two measures:
b-a-g-e-d in its varied rhythmic application at the beginning and ending of the
chorus.
F-69
fct; ; J ^
^
N I
p3
'Will you wear red, — my true love? Will you wear red,
t^r^^l^
#— =-
w
Ju - Ue
Jen - kins?'
'I won't wear red, it's the
i
.^ N N-
N N
J
i
-A ^ is ly — tJ
col - or of my head: 'But I'll buy me a f al - li - ral - li
52
NORTH CAROLINA FOLKLORE
i
i^:
^^
=^f^=^
=i^
dil
ly - dal - ly Ser - vi - jui - cy - dou - ble - rol - ly
^
I
^Z
Jen
— V —
kins.'
bind - ing To wear with a robe, Ju - lie
For melodic relationship cf. **FSUSA 54, first eight measures ; *OSC
129.
Scale: Mode III plagal. Tonal Center: g. Structure: aa^bc (2,2,2,4).
Circular Tune (V).
'Jennie Jenkins.' Sung by Bennett Smith and E, J. Smith. Recorded at Zion-
ville, Watauga county, in 1921 or 1922. The beginning is similar to that
of F-69. Measures 5-6 are similar to those of F-161, 'Said the Blackbird to
the Crow.'
F-70
i
s
±=^
'Won't you wear blue, my true love? — Won't you wear blue,
7 — 1^ T^
h-f ..^-.f.
m
— • —
p
— 1 —
~ — f^ — h —
i=^=^
-^ F-
H—
*
* — 4 —
Jen - nie Jen - kins?'-
'I won't wear blue, for it
i?^=^ J 1 tH
2—1—
N S —
p—
-:::4v=
— s —
— f^
#=^
d
-^t=t
4-^—
P P—
—It ^ '
-1^
•
— P —
— ^ —
-^ —
too true:' 'I'll
buy me a tur - ley whir - ley
i
M#=^v=^
^=1
dou -
A
ble
lol
- ly
sook - ey jul - ey
Sal -
ley
y ...
k. k. k. k.
/f IL
pi
Y\
■>
1'^ i"^ 1 P P
p
im ^
J
J J J
^K— J—
4
*
s
L_J w J ^ ^J
ii
9
Ka
ty dou - ble, dou - ble row stick a bean - y
I
2l
^=?
Ttr
"~* —
wau
-^ ^
-^
ter ma rose, Jen - nie Jen - kins.'
Scale: Mode III, plagal. Tonal Center: f. Structure: abcdd^e (2,2,2,4,3,2).
PLAY-PARTY AND DANCE SONGS
53
'Jennie Jenkins.' Sung by Ruth Weatherman. Recorded by Dr. Amos Abrams.
No place or date given. The song, unfortunately, is only a fragment, inas-
much as the entire content of the stanza consists only of the last two mea-
sures. No more can be heard on the recording.
¥-71
^^
I^
-^
-^—^
col - or
hght.' 'But I'll buy me
^) J J
i
tt
fal - ly - dil - ly - dal - ly - dou - ble
o' Jul - ey sack,
i
^
w
To wear with my robe, Jen - nie Jenk - ins.'
Scale: Mode III, plagal. Tonal Center: f. Structure: Assuming that the
stanza would be a simple a,b, then the chorus would be c,d. The form of the
whole: abed ( ? ? 5,5).
70
Oh, Pretty Polly
'Oh, Pretty Polly.' Sung by Carl G. Knox. Recorded at Durham, between
1922 and 1924. The music as given on the ms score demands six lines, i.e., one
and a half stanzas as given in III 104, and this was evidently the way the
singer meant it.
F-72
i
f=^
-N-
w
^
Oh, pret - ty Pol - ly, don't you cry. Your sweet-heart's a ■
i
¥
com-ing by - and - by. When he comes, he'll come in green;
i
?
— " V r
P
Then you may know that his love is keen. Oh pret - ty Pol - ly,
5
I
--v
don't you cry. Your sweet-heart's a - com - ing by - and - by.
54 NORTHCAROLINAFOLKLORE
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^bcaa^ (2,2,2,2,2,2)
— aba (4,4,4)-
74
The Needle's Eye
'Needle's Eye.' Sung by J. T. C. Wright. Recorded at Boone, Watauga coun-
ty, in 1922. Our melody is identical with that of G-57. Text is the same as that
given in I 108B. The recording supplied the second line which is missing
in III 108.
F-73
133
~% — ^ —
Nee-dle's eye did sup-ply The thread that runs so true, Man-y
i
:t=t:
rJ I
a beau have I let go For the sake of kiss - ing you.
For melodic relationship cf. ***OFS iii 351, No. 545; Owens 9; JAFL
XLii 229; SFLQ VI 207; **JAFL xxiii 115, 34b; JAFL xliv 18, only first
and last measures; JAFL xlix 248, measures i and 3; SBPPG 160, mea-
sures 1-2; *GSAC 241, measures 1-2; FSONE 43, measure i.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abac (2,2,2,2) =
aai (4,4).
75
The Miller Boy
'Little Johnny Miller.' Anonymous singer. No place or date given. The first
two measures are identical with those of F-73. Practically the same text as
in I iiiB.
F-74
?
-^^--
Lit - tie John-ny Mil - ler he worked at the mill, He
W-
^-
-I 1 H—
worked all day, no mat - ter what you will. With a
PLAY-PARTY AND DANCE SONGS
55
?=
*^
:t
i^
W
hand
the hop - per the oth - er in the sack. The
^
la - dies keep a
go
ing while the gents turn back.
Scale: Pentachordal. Tonal Center: c. Structure: aba^bi (2,2,2,2) = aa^
(4,4). Every phrase cadences on I. The tonal center is the lowest tone.
76
In and Out the Window
'Marching Round the Love-Ring.' Anonymous singer. Recorded somewhere in
Buncombe, Madison, or Haywood county. The same tune will serve also for
the chorus. Compare the melodic line of the initial four measures with the
first eight of the song: 'The Man on the Flying Trapeze,' So A 153.
F-7S
i
^
^^^-^H
2{=±
■^ —
Go in and out the win - dow, Go in and out the win - dow,
ifc:
i
Go in and out the win - dow, Since you have gained the day.
For melodic relationship cf. ***FTM 35; FSONE 10; OFS iii 336, No.
538A; Ford 260; GSAC 128; Owens 3; SBPPG 38; Wolford, The Play-Party
in Indiana, 47-8; JAFL xxiv 306; JAFL xxvi 138; JAFL xlix 243, all but
the ending; **SFLQ vi, 194-5.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abac (2,2,2,2)
= aai (4,4).
78
Coffee Grows on White Oak Trees
'My Darling Little Pink.' Sung by C. K. Tillett. Recorded at Wanchese,
Roanoke Island, probably on December 29, 1922.
F-76
=r — ^ — ^
take my knap - sack
m
on
^
my back, My
56
NORTH CAROLINA FOLKLORE
^--
gun up - on my shoul - der, — And march a - way to the
, .N — ^ —
3=^
^m
V-
To
_^ m-
a pleas - ant
^b=i
New Or - leans
Stanza 3. i
coun - try.
#F^
s ^ ^
1
3
5-6
-» , 1
#=iq
b^^
— \r
h=i=^
— p d d 1 1^
^- r ^-
-^t--
*J
m
-•- -•-
Scale: Hexatonic (2), plagal. Tonal Center: f. Structure: aba^c (2,2,2,2)
aai (4,4).
Til Put My Knapsack on My Back.' Sung by Miss Pearl Webb. Recorded
at Zionville, Watauga county, in 1914. Another title : 'We're Marching Down
to Old Quebec' ; also 'Old Quebec'
¥-77
-t^^ 1
.
y ^
1
,
l(^ 'J
1 1 1
:; - 1
J
— J—
— W—
d '
J
—
—J '
I'U
^
ri - fle
my shoul - der, And march down to
i
2^—
New Or - leans Just to be a sol - dier.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
80
Pig in the Parlor
'We Have a New Pig in the Parlor.' Sung by J. C. Knox from Brunswick
county. Recorded at Durham in 1923. This melody is identical with that of
the French song 'Malbrough, s'en va t'en guerre.' In North Africa, the natives
have a song like it called 'Mabrooka,' supposedly brought to Europe by a
crusader (cf. Friedlacnder, ZfMW vi, 302-28). The same melody is well known
as 'He's a Jolly Good Fellow,' as well as 'The Bear Went Over the Mountain,'
PLAY-PARTY AND DANCE SONGS
57
and 'ATy Father and Mother Were Irish.' Observe an interesting difference in
the last word of the stanza "stew" as against "too." Cf. APPS 291, No. 84A.
Usually, the Da Capo after the refrain goes to the third measure of the stanza.
The MS score, however, noted it as given.
F-78
n
\
3
1
y 1 1 n.
l^
A
,^
,^ K
.^
^ L-v
i4 b^ 1^
frC\^ -1 J
S
•
^
• _ _ ^
0
*
* • •
\y\) 4- 0
^
We
have
a
new
pig in
the
par
- lor,
We
0
3
^
''
3
3
y 1 N
f>
^ ^
^
^
^ 1
.
i'^ i'^ 1"^
/ \} 1
p
">
N
J J J
l(\^ m
^
^
^
J S
[V
000
V.V ; •
d
• •
s
have
a
new
pig
1
in
the par -
lor,
We
have a new
0 ^
3
^
Fine
y 1 ^
fs
^
K . 1
>
/" b J
r
P '
•
^
S
^^^ •
J
t^
y.
• •
d
v-.>
\ J
• s •
pig
0
in
the
par -
- lor
And he
is
I -
rish too. And
D C. al Fine
y 1
Jv
^
" ^ »
/lb ^ •
^
1 •
,N
p •
,
p .
«
f •
jy s . > .
If n 1
— 1»
' u
0
0
^
S r J '•
W — V —
^
1
L^_
—U—
u*
^
he
he
I - rish too. We
3 I - ri.sh too. And
For melodic relationship cf. ***APPS 291, No. 84A ; SBPPG 84; Owens
52; OFS III 305; (the last two lack the refrain); JAFL xxxiii 117, 36a;
JAFL xLii 211; **JAFL XXIV 298.
Scale : Hexachordal. Tonal Center : f. Structure : abcab (2,2,2,2,2) ; the b is
somewhat related to the beginning of a. The tonal center is the lowest tone.
Buffalo Gals
'Won't You Walk Out Tonight.' Sung by Miss Jewell Robbins. Recorded
at Pekin, Montgomery county, between 1921 and 1924. Other titles: 'Round
Town,' or 'Down Town Girls.' Basically, the tune is that of an old German
Music hall ditty : 'Im Grunewald, im Grunewald ist Holzauktion.' Also de-
scribed as 'Negro Song.'
F-79
Oh, Buf - fa
lo
gals, won't you walk out to - night,
??
Won't you walk out to - night, won't you walk out
58
NORTH CAROLINA FOLKLORE
r=?=
^
to - night? Oh, Buf - fa - lo gals, won't you walk out
^^^
i
-^^ —
to - night And dance by the Ught of the moon?
For melodic relationship cf. ***EAS, No. 5; FSUSA 104; Owens 45;
Ford 53; **APPS 151; TNFS 113; FSoA 127; SRA 54; *OFS iii 332;
ABFS 288.
Scale : Hexachordal, plagal. Tonal Center : f. Structure : abac (2,2,2,2) =
aai (4,4).
'Alabama Gals.' Sung by Bonnie Wiseman, with the accompaniment of the
Wiseman band. Recorded at Upper Hinson Creek, Avery county, August 26,
1939. Cf. remarks on F-79, to which this tune is closely related. Stanza and
chorus (they differ only in measures i and 5) combine two versions, one with
ascending and the other with descending beginning. Cf. here APPS 113, No.
iiA where our refrain serves for both stanza and refrain; likewise OFS
III 332 where our refrain constitutes the stanza.
F-80
^
I^
My lit - tie girl-
sat on a stool, sat on
stool,
1^=:^:
Z2Z
sat on a stool. It turned o - ver and
Al - a - ba - ma gals, won't you come out
3
?#=
to - night, Come out to - night, come out to - night.
Al
- ba - ma gals, won't you come out
PLAY-PARTY AND DANCE SONGS
59
iEE^E=^_=^^^
to - night And dance in
the light of the moon?
1
i^^^^^^
z=^
-d 1^
For melodic relationship cf. ***APPS 113, No. iiA; OFS 332; Ford 53;
**TNFS 113; Owens 45-
Scale: Heptachordal, plagal. Tonal Center: d. Structure abacdbdc (2,2,2,
2,2,2,2,2). The d is somewhat related to a. Over-all form = aa^bbi (4,4.4,4) •
82
Old Dan Tucker
'Old Dan Tucker.' Sung by Alex Price. Recorded at Alliance, Pamlico coun-
ty, in 1927. Differing from the text of B version as given in III^ 116, this
version adds the chorus like version A. There is an interesting elision at the
close of the stanza which shares its ending with the beginning of the chorus.
Cf. measure 4. The chorus is practically identical with that of the Dan Emmett
version. The stanza is likewise considerably related to the latter. The text
of the Emmett version as quoted by Lomax (cf.ABFS 261) has two stanzas
as printed in MSON 150-1. Lomax accuses a lady contributor to his col-
lection of being wrong in her assertion (ibid. 258) and bluntly states that she
did not quote one of Emmett's stanzas. Now it is somebody else's turn to
accuse him of not having read all of her text, for her fifth stanza is in essence
identical with the third original stanza as quoted by Lomax. If even Jupiter
nods at times, mere mortals might perhaps be excused for snoring.
F-81
n^ 1
-#^Tt^ L_
1
^^
— s —
— \—
1 —
— =t5— ^
f^M—d—
— d —
— d—
«
—t-
'"*
—J—
i
— J —
— d — -
\) z
d
d
tJ
Old Dan Tuck - er was a grand old sin - ner, He
-pr-
— \ —
— \ —
=^==fv-_^
r—
1
fer-^=
-4r-
— 0 —
— d —
—d — d — h-
N—
— 0 —
— ^l —
—d-.
nev - er said grace till he went
to
his din - ner.
S
Then
he hung his head, and
N ^ 1 iL rt
he laughed, and said:
V t'i>
1 1 ^ P
^ l~
— d 0 ^ J ^—
f^ \ — ^— J
lj — ; — J — d u
'Lord Je - sus Christ, what a big pone of bread!' So,
NORTH CAROLINA FOLKLORE
^-
Get out the way for old Dan Tuck-er, Get out
IS
*
way
1^
old Dan Tuck - er for he's too late
-V-
to
the
m
for old Dan Tuck - er, Get out the way for
I
get his sup-per.
For melodic relationship cf. ***Wolford 78-9; CRS Kit 54. MO; **EAS
36; APPS 264; SHP 59; FSUSA 92; MSON 150-1 ; JAFL xxiv 309, mea-
sures 1-6; JAFL XLii 209, measures 1-2 and 5-6; As 82-3, chorus only.
Scale: Alode III, plagal. Tonal Center: a. Structure: aa^bbi (4,4,4,4)-
84
Captain Jinks
'Captain Jinks.' Sung by Miss Jean Holeman. Recorded at Durham, July
1922. The very decided modulation to the dominant at the end of b^ would
suggest the influence of more recent times. In contrast to this, there is a version
of this melody practically identical, which does not have the leading tone in the
fifteenth measure (JAFL xxiv 308-9). In the version given in OFS iii 355
there is no melodic relationship but it might be interesting that the first four
measures are those of the German folksong 'Zu Lauterbach hab i mein Strumpf
verlorn.'
F-82
-V d «— 1 ' tt 0 1^-
my horse on com and beans And sport young la - dies
Fink
i
— \-
in their teens I'm
cap - tain in the
my.
^E^:^
J^
teach young la - dies how to dance, how to dance,
PLAY-PARTY AND DANCE SONGS
6l
?^
how to dance, I teach young la - dies how
to
al Fine
--'^
dance, For I'm the pet of the ar - my. I'm
For melodic relationship cf. ***SBPPG 14; Ford 120 (the phrases in
the chorus are here reversed), also 242, 'Down the Ohio' (except the chorus)
and 264 'Hip-etty-hop' (no chorus); JAFL xxiv 308-9; CRS Kit P, 61;
**Wolford 27; *JAFL xliv 14.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : aa^bb^aa^ (4,4,4,
4,4,4)-
Hop Light, Ladies
'Hop Light Ladies.' Sung by Miss Jewell Robbins. Recorded at Pekin,
Montgomery county, in 1922. F.C.B. notes : "Played by brass band at Ellerbee
Springs Muster Ground before Civil War and at beginning of the war." Note
in catalogue: "Square Dance." Our text is reported as refrain of a song which
according to Randolph (OFS 11 252) was reported from Georgia in 1856
(cf. Harris, Uncle Remus, His Songs and His Sayings, 1928, p. 191).
F-83
T-
i^
=1:
3^-d
Hop light, la - dies, yo' cake's all dough. Hop light, la - dies, yo'
-A-
:^
cake's all dough. Hop light, la - dies, yo' cake's all dough, You
m
y
-9-
so
need - n't mind the woath - er so the wind don't blow.
For melodic relationship cf. ***OSC 58, chorus only.
Scale: Hexatonic (5). Tonal Center: d. Structure: aa'ab (2,2,2,2). The
tonal center is the lowest tone.
86
Old Joe Clark
'Old Joe Clark.' Sung by Otis Kuykendall. Recorded at Asheville, Buncombe
county, July 18, 1939. There is a slight variation in the third line of the
62
NORTH CAROLINA FOLKLORE
Stanza which accounts for the loss of the rhyme. Interesting use of flattened
seventh in chorus.
±
^=^
Old
Joe Clark
He
killed
his wife, And
^
^
-5^
threw her in the branch. Old Joe Clark is a gon - na
*
1
be hung; There is
oth
er chance. Fare thee
^
E±
well, old Joe Clark, Fare thee well, I say,-
Fare thee
^
I
■#— r-
^^^
well, old Joe Clark, I'm go-ing a - way — to stay.
1-3 .... 6-7
t:
-f — R-
ib^b^-E^zE^E^^^
N P
S
J J _^— R-
i
-*c-it
For melodic relationship cf. ***SharpK ii 259, our stanza is chorus there ;
DD 106-7, last eight measures and our first eight; ABES 277, stanza only;
**AFSC 84.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abaicdedf
(2,2,2,2,2,2,2,2) = aa^bbi (4,4,4,4).
B(I)
'Old Joe Clark.' Sung by Bascom Lamar Lunsford. Recorded at Turkey
Creek, Buncombe county, in 1921. The chorus is a variation of that of the
C version (III 123). Lunsford attributes the last stanza to Willard Randell,
York, S.C. Melodically, the stanza is quite similar to the Kuykendall version
(F-84).
13
PLAY-PARTY AND DANCE SONGS
::s=T
63
F-8s
-^i=i^
2. I don't like old Joe Clark, Ncv-er think I
shall.
^
I don't like old Joe Clark, But I al - ways liked his
i
t^
l^^.
— N—
^
Rack - a - ma - rack - a - ma old Joe Clark,
i
Good - bye. Bet - ty Brown; Rack
ma - rack
^^=t
i^^
I
a - ma old Joe Clark, Bound to leave this town.
For melodic relationship of. ***ABFS 277, stanza only; SharpK 11 259,
last eight measures and our first eight. Our chorus is merely a variation of the
latter.
Scale: Irrational (4,6), plagal. Tonal Center: g. Structure: abacabiaci
(2,2,2,2,2,2,2,2). Over-all form: aaia2a3 (4,4,4,4).
'Rock, Rock, Old Joe Clark.' Sung by Miss Jewell Robbins. Recorded at
Pekin, Montgomery county, between 1921 and 1924. The flattened seventh
might be taken as indicating Mixolydian, inasmuch as the leading tone is only
used at the final cadence.
F-86
t^g^-^^!;^gE^^g^
^
*^
I
If you see that girl of mine Tell her, if you please.
S
?
^^^^
^^
Tell her, 'fo' she makes up dough To roll up her
^
^
^=t:
^
du-t - y sleeves. Rock, rock, old Joe Clark, Good-bye, Bet - ty
NORTH CAROLINA FOLKLORE
1^^
I
Brown; Rock, rock, old Joe Clark, Good-bye, Bet - ty Brown.
For melodic relationship cf. ***SharpK ii 259, No. 183; EAS No. 40,
stanza only; OFS in 376, No. 564 ('Get Along Home, Cindy') ; FSUSA 86
(less in chorus) ; AFSCh 84, stanza; **Owens 56; JAFL xxv 152.
Scale: Heptachordal, plagal. Tcnal Center: f. Structure: aa^abcdcd^ (2,2,2,
2,2,2,2,2) = aa^bbi (4,4,4,4).
'Old Joe Clark.' Sung by G. S. Black. Recorded as ms score without date or
place. The general melodic outline of the chorus is related to that of F-8s,
that of the stanza to the version quoted by Owens (56). At this is a MS
score and the original record was destroyed in transit to the Library of Con-
gress, there was no chance of checking the accuracy of transcription. Since
our melody, however, is so closely related to the Owens version, the difference,
namely the skip from c-sharp to g in our version seems to indicate a faulty
transcription or perhaps singing. Compare this song with F-iio.
F-87
l^i
4 h ^
:i
Nev - er liked the old Joe Clark, Don't think I ev - er shall;
i^=i
t^
Nev - er liked the old Joe Clark, Al - ways liked his gal.
^^^
S
Round and round the old Joe Clark, Round and round, I say.
pi
n--
=^==1:
r^
* — *■
Round and round the old Joe Clark, T ain't got long to stay.
For melodic relationship cf. ***Owens 56 ; **FSUSA 86 ; AFSCh 84, re-
frain only; JAFL xxv 152.
Scale: Heptachordal. Tonal Center: d. Structure: abacdd^dc (2,2,2,2,2,2,2,2)
:= aa^bb^ (4,4,4,4). The tonal center is the lowest tone.
'Old Joe Clark.' Anonymous singer. No place or date given. Since this was
recorded, and there is no record mentioned in the catalogue as attributed to E.
C. Crawford (only a text), our contributor must necessarily be somebody
PLAY-PARTY AND DANCE SONGS
else. Incidentally, this recording is listed in the catalogue under the title
'I don't Want No Fifteen Cents.' The last line of the stanza in our version has
a different text from that given in III 123-4. The latter seems to have nothing
to do with 'Old Joe Clark'. Measures 3-4 are the same as in F-86.
F-88
^^^
t
I don't want no fif - teen cents, I don't want no
^
change, All I want is
^ =i^_
for - ty - four gun, —
^
To join a - hunt - in' in the plain. Lord, Lord,
I
m
^
To join a - hunt
the plain. Lord,- Lord.
Scale: Dorian, plagal. Tonal Center: e(m). Structure: abcdd^ (2,2,2,4,4)
=. nmmi (6,2,2) ^ inverted barform.
'Old Joe Clark.' Sung by Mrs. Myra Barnett Miller. Recorded at Horse
Creek (Lenoir), Caldwell county, between 1939 and 1941. Another title given:
'Georgie Buck.' Excepting the chorus, this version is almost identical with
that of F-86.
F-8q
T used to live in the coun - try, But now I
i? ^ ^
^
live in town; A board- in' at the ho - tel, A-
^^^^^^
^
court - in' Sal - ly Brown. O rock, rock,-
66
NORTH CAROLINA FOLKLORE
m
122
ig
rock, rock, — old Joe Clark, Rock, rock, — (Joe Clark,)
±
3
Rock, rock,— old Joe Clark, Good - bye, Bet - ty B
rown.
For melodic relationship cf. ***SharpK ii 259, No. 183 (the chorus is a
free variation of a common basic content) ; EAS No. 40, stanza only; AFSCh
84 (omitting the first two measures of our chorus) ; **Owens 56; JAFL xxv
152 (stanza only).
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aa^a^bccib (2,2,2,
2,4,4,2).
'Old Joe Clark.' Sung by Bascom Lamar Lunsford. Recorded at Turkey
Creek, Buncombe county, probably in 1921. This tune has some melodic relation-
ship with F-89. Observe, however, the flattened seventh in the latter and its
absence in the former. This brings about the rather strange progression of a
melodic tritone : e-d-c-b-flat (measures 2 and 4). As otherwise our version is
very closely related to the Owens version (see below), one can only wonder
what caused the change. The general melodic line is quite similar to the
singer's earlier version (F-85).
F-90
r#=^
£
i±z±
Once I lived in the coun - try, Now
(^)
w
live in town; A - board -in' at the ho - tel — A
^
court - in' Bet - sy Brown. Rack - a - ma - rack
^=^
^
old Joe Clark, Good-bye, Bet - sy Brown; Rack - a - ma-
^m
I
rack - a - ma old Joe Clark, Bound to leave this town.
PLAY-PARTY AND DANCE SONGS
67
Stanza 2
^ r^ f
^^^^^m
-N-^
-(ffi-
?
S
^^
V — t^
::s:
For melodic relationship of. ***AFSCh 84 (excepting flattened seventh) ;
**ABFS 277 (our chorus is the stanza there) ; SharpK 11 259, No. 183
(chorus) ; JAFL xxv 152.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aa^bcdedc (2,2,2,
2,2,2,2,2) = abcci (4,4,4,4).
2nd stanza :
Somebody stole my old coon dog,
And I wish he'd bring it back,
little
through the crack.
88
The Farmer's Boy
'The Farmer's Boy.' Sung by Dr. I. G. Greer. Recorded at Boone, Watauga
county, in 1915 or 1916.
F-91
i n 1
— F 1 —
— h~i
1
^ ^
tJ -0- S-
—J *
i'
— U-
1 — 0 —
— ^ — 1 —
— 1^ :i+—
— 0— — • —
The sun had set be - hind yon hill When a
cross the drear - y moor, — All wea - ry and lame, a
T
?
=N=*
"'^-^
—I 1 1 —
Zj. . -0. -0-
farm - er's door. 'Can
poor boy came Up to
?
w
you tell me
an - y there be Who'll give to
n
y '"^
1 1
»
_
^
fc
s
J
• \
«
m
'
^
^
i"^
X \
d
J . J - -Tj ■■-- r, ■■
■ ■■ '^.
-■ v.
1
•
9
V -;
y
'^
1
iJ
me em - ploy,-
For to plow
to sow, or
to
68
NORTH CAROLINA FOLKLORE
^
:fc
I
reap or to mow, Or to be a farm - er's boy?'-
For melodic relationship cf. *OFS iii 350, No. 544A ('Sally Goodin'), first
measure only.
Scale: Mode III. Tonal Center: c. Structure: abcdabcd (2,2,2,2,2,2,2,2)
= abab (4,4,4,4). The tonal center is the lowest tone.
'The Farmer's Boy.' Sung by Miss Averie M. Martin. Recorded as ms score,
but no place or date given. The Sutton version given in III 125 as 88D, is
practically identical with this version. The minor differences are given under
variations below the music score. Textual differences in the Sutton versions
are found at the beginning of the stanza: "When o'er the dusty moor, All
weary and lame, a lad there came."
F-92
^
The
sun had set be - hind yon hill When a
3
3
W
i
cross the drear - y moor,
All
wea - ry and lame,
^^
poor boy came Up
to
farm - er's door. 'Can
^
you tell me
an - y there be Who'll give
to
5
t
-' ' ' ^ i— ^
em - ploy. For to plow- or to sow, or to
$
^B
m
:t^
#
^ ^ ^^
reap — or to mow. Or to be a farm - er's
2 and 10 4-6 (and 12-13) 14-15
boy?'
-^ — *
3
t^.
?
m
^—^
-fV-N-
PLAY-PARTYANDDANCESONGS 69
Scale: Mode III, plagal. Tonal Center: f. Structure: abcdabc^di (2,2,2,
2,2,2,2,2) = ababi (4,4,4,4).
89
Sally Goodin
'Sally Goodin' or '01' Sally Goodin.' Sung by Bascom Lamar Lunsford.
Recorded at Turkey Creek, Buncombe county, about 1921. The singer told
this editor that he had known this song for a long time.
F-93
^
^^^
^
Big piece o' pie, An' a lit - tie piece o' pud -din',
i
Give it all a - way For ol' Sal - ly Good - in',
_ For melodic relationship cf. **OFS 350, No. 544A ; JAFL xlii 228 ; CRS
Kit 47, 13 (ignoring the wrong notation of the stanza's last measure).
Scale: Mode III, plagal. Tonal Center: g. Structure: ab (4,4).
'Sally Goodin.' Anonymous ms score. Reported by Thomas Smith,
ville, Watauga county, in 191 5.
of Zion-
F-94
P^b^ ^
r-H ^ ,
^^
— M
r— ^ ^ 1
-/ V b ^ J
^
^
^ • ^ -
_ J
s
» •
tr^^ '> •
^
^
• » L i
1
\j
*J
'
love
peach pie and I love
ta - ter
f^n V
i
I^
-G-
-in.
ending) ;
2,2,2) =
pud - din' And I love that gal they call Sal - ly Good
For melodic relationship cf. **JAFL xlii 228 (beginning and
OFS III 350 (general melodic outline, not rhythmically related).
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: aa^bc (2,
mm^n (2,2,4) = miniature barform.
'The Jaybird and the Sparrow.' Sung by W. E. Poovey. Recorded at Marion.
McDowell county, in 1924. Another title: 'Sally Goodin.'
70
NORTH CAROLINA FOLKLORE
F-95
i
^
^
i^
^
-^ — f^
w
The jay - bird and the spar -row went down in the field to-
S
:}c
geth - er, They had a fight in the bri - ar patch and
^E^fe^^
nev - er lost a feath - er. Old Sal - ly Good - in, you can't
^
:t
^
fool me, Old Sal - ly Good - in you can't fool me.
Scale : Hexatonic (4) plagal. Tonal Center : g. Structure : abcdab^ (2,2,2,-
2,2,2) = aba^ (4,4,4). (The last four measures are the chorus.) Circular
tune (V).
90
Doctor Jones
'Doctor Jones.' Anonymous singer. Recorded somewhere in Madison coun-
ty. B. L. Lunsford told this editor that he taught there. After coming home
from getting his pay at Marshall, he gave a party at which they sang this
tune. For a different text cf. FSF 214-5.
F-96
iM:
^
gBb
^=^
=^
—si—
Doc - tor Jones is a great man, a great man, a great man;
I
W^
J^
Doc -tor Jones is a great man, he'U help who - ev - er he can
For melodic relationship cf. ***SharpK 11 368, No. 256; CRS Kit P
8; **APPS 266, No. 77 A.
Scale: Mode III, plagal. Tonal Center: f.
= aai (4,4).
Structure: abac (2,2,2,2)
PLAY-PARTY AND DANCE SONGS
71
91
She Loves Coffee and I Love Tea
'I Love Coffee, I Love Tea.' Sung by Carl G. Knox. Recorded in Durham
between 1922 and 1924. According to the notes accompanying the text (III
129D) this version consists of the four lines of version A plus the two lines
given extra. This would make the whole six lines. The melody makes no pro-
vision for this unless one repeats the last four measures. Version E by the same
singer uses the identical tune as this version. For a different text cf. FSF 180.
F-97
IS
5^
1^
^
£
I love cof - fee, I love tea, I love the boys,
:^' ; J-d=^
m
BE
^J=st
^
and the boys love me. Wish my ma - ma would
i
^
4^
i
^
hold her tongue; She loved the boys when she was young.
Scale: Irrational (2,3,4), plagal. Tonal Center: g. Structure: abab (2,2,2,2)
= aa (4,4). The tonal center is the highest tone.
92
I Do Love Sugar in My Coffee O
'A Little More Sugar in My Coffee.' ms score written by Miss Vivian
Blackstock at Lenoir, Caldwell county, in 1923. As there were only insignificant
differences in Mrs. Sutton's version, only these are given here under variations.
F-98
^
W^
^
±
The rab - bit hipped, the rab - bit hopped, The rab - bit
^
^
off the tur - nip top. I do love sug-ar in my
i
O
I do love sug - ar in my cof - fee O.
72
NORTH CAROLINA FOLKLORE
^^
1
->-
— y-
— ^-
— ^
— ^ — r^
-i-
1
5-7
r — ^ — h—
¥-
^
-J-
^1
^
— #-
-1 —
H^
— #-
-1^
i
— J. J
H — ^-r-
-• —
h-l^ — ^ —
kr—
=J^
-t-
=i-
-• —
-^ — f^V-
=J=
1
— • —
-4 — *
Scale: Tetratonic (4). Tonal Center: e-flat. Structure: ab (4,4). The
tonal center is the lowest tone.
94
Turkey in the Straw
'Turkey in the Straw.' Sung by Miss Kate S. Russell of Roxboro, Person
county. Recorded at Durham, July 1939. There is no chorus. Compare the
first four measures with those of F-639 'Down at Widow Johnsons,' sung by
B. L. Lunsford.
0 V
F-99
/ 0 ^
L>
^ ^ .. w ..
- 2i ^
^
^
^ V k:
^
i(?\ 1 • •
_,N
,N JS JN
^
N
N
N
ISil^ '+
•
» 0 0
0
K
f>}
K
c
Did
you ev -
er go a -
fish -
ing
On
-J-'
a
■^
3
""^
/
^ ^ ^
^
f^
V
v3
N N \
/v
.
>
tr
N >
N S
«/ « •
J^. _
i
^
1
V
) J
fS N 1
•
*J
bright
^ p.
-•- -•- -#-
sum - mer day,
See the lit -
tie
fish -
es
Come
^ ^^
k ^
— ^ ^
— ( 1 ,
f^^-^
1^
-55
— C
""^^i^
tJ
out
— • • •
to play, Wi
^- •
th their
^
pants
4
in
-^ ^^
their pock
-^
- ets
/
!J
^
4J_
>
.
^
^
JN
!*>
\ ^
N
^ ^
N N N
0
0
•
J R
^
N N
tJ
And their pock - ets
-•-' -#-' -0-
in their pants?
Did
you
ev
- er
^— r—
-^ ^
'>
N. ^
',^
^
N
N
N 1
— w —
^ N
—J^ —
— ^ —
.... R
--K—
-i^ 1-
^ — ^ —
-t' ri '
-^' •
— 0
-•
_j 1.
tJ
see the la - dies Do their hoo - chy - koo - chy dance?
For melodic relationship cf. ***ASb 94-6 (stanzas only) ; **RaW 18;
FSONE 101-3; Ford 435-8.
Scale: Mode III, plagal. Tonal Center: f. Structure: abac (2,2,2,2) = aa^
(4.4).
PLAY-PARTY AND DANCE SONGS
73
96
The Dolly-Play Song
'The Dolly Play Song.' Sung by W. N. Vaughan. Recorded at Durham about
1920. The melody is closely related to that of 'Nuts in May.'
F-ioo
n
^
3
■
V "> rv h.
fc.
^
1^
fj'" 1
■y' Z ^ J>
^
^ . > 1
f"\ i J J^
J
4
1
•
J
V- 7 H- • • #
S
[/
•
Here we
come
with
our
dol
-
lies
dear,
0
3
y ^ <
IJ-
1
'\-
y
— ^ —
N f^^
tr^ — ^ ^ — \ —
— P '
— ^^
— 1
-^^
-J^—
—J Ji
V- ; • • -
0
d
m
S
^
Dol - lies dear,
dol -
lies
dear;
Here
we come
with our
-J/- -w ^ N
\ —
— N
V-
— \ 1 =H
yf ^j — f -^ ^^ — 1^—
N—
~J~
N-
N-
— \ \ H
\y ) \j 0 • m
• • • ^ s
•
• n
i) "'
"
^'
dol - lies dear. And we're their lit - tie moth - era.
For melodic relationship cf. ***OFS iii ZTZ, No. 561A; **Gomme i 404
and 424; SharpK 11 373 (measures i and 5).
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abac (2,2,2,2)
= aai (4,4). Every phrase cadences on I.
98
Oh, Lovely, Come This Way
'Had an Old Shoe.' This is the title given by singer. Sung by Miss Pearle
Webb at Pineola, Avery county; catalogue gives date as August 24, 1939.
It is interesting that with the one change of "Lovely" for "Lordy," the title of
this song is the fifth line in 'Preacher in the Pulpit,' HI 403, No. 342. In
addition, the ninth stanza, not given in III 135, is the same as the first three
lines in the song mentioned above with the last altered line "Giving out the
Lord's command." In the first stanza our singer changes "preacher" to "nigger."
There is no chorus in the version as recorded. Instead of the chorus given in
vol. Ill 135, the singer merely uses "M-hm." The chorus can, however, be
sung to the tune of the stanza. After the first stanza the sequence of the
remaining stanzas is as follows : 4, 2, 5, 6, 7, 8, 9.
F-ioi
had no heel, Had an old shoe, had no heel,- Looked like
74
NORTH CAROLINA FOLKLORE
i
1
^
a nig - ger with a mouth - ful of meal. M - hm.
5-H 2 6 Ik ..
5;=^:
:N=4
:=^^^
-1^
Scale: Irrational (2,4), plagal. Tonal Center: g. Structure: aaa^bc (2,2,2,
2,2).
99
The Duke of York
'The Duke of York.' Sung by Miss Jean Holeman at Durham, July 1922.
Same air as for 'A-Hunting We Will Go.'
F-102
^W=
-j^ N fs^ f*^
— 1 —
-A N—
N Ps
-•-
r^
^
_J — J_
• «
Oh, the no - ble Duke of York He had three thou - sand
J.^ 1
— ^~
— r^
— r^ — ^
1 — N-
— ^—
-f — ^^
— [^
— 1^ —
t(\^ J
s
^ —
—It—
i 4
— • —
— # —
-4—
i^
V ; • .
tJ
-•-
men. He marched them up the hill one day And then marched
i
^
i£
^
— ^
down a - gain. And when he was up he was up. And
m
*:
when he was down he was down, But when he was on - ly
I
l=it
half
way up
He was neith - er
up
nor down.
For melodic relationship cf. **OSSG 41.
Scale: Pentachordal, plagal. Tonal Center: f. Structure: aa^bcaa^be (2,2,2,
2,2,2,2,2) := abab (4,4,4,4).
103
Darling, You Can't Love But One
'New River Train.' Sung by Miss Hattie McNeill at Ferguson, Wilkes coun-
ty, 1922.
PLAY-PARTY AND DANCE SONGS
75
F-103
?
^^m
I'm leav - ing on that New Riv - er train,- I'm leav-ing
1^
i
^--
#— r-
^ V ^^*^
on that New Riv - er train. The same old train that —
^
i
-N-^
=J=at
:St=i:
^
brought me here Is go - ing to car - ry me a - way.
Stanza 2
^
1— t-t-F^
^
^ * ^ V -J- J-
Scale: Hexachordal. Tonal Center: c. Structure: mmin (2,2,4) = bar.
The tonal center is the lowest tone.
104
Page's Train Runs so Fast
'Page's Train Runs So Fast.' Sung by Miss Jewell Robbins at Pekin,
Montgomery county, in 1922. Similar text: ANFS 402.
F-104
£
^
^
Pa - ge's train
fast
Can't see
m
I
is:
noth
but the
dow
glass.
For melodic relationship cf. *ABFS 262-3, measures 1-2; TNFS 69-70,
measures 1-2; Ford 60, last 2 measures.
Scale: Mode III. Tonal Center: f. Structure: mm^n (1,1,2) = Miniature
bar. The tonal center is the lowest tone.
76
NORTH CAROLINA FOLKLORE
105
Turkey Buzzard
'Turkey Buzzard.' Sung by Mrs. N. T. Byers, at Zionville, Watauga
Catalogue gives date as 1921-22.
county.
F-105
#=f=
lit
Shoot that tur - key buz - zard,
Shoot that tur - key
buz - zard, Shoot that tur - key buz - zard Come flop - ping
^
--h-±
^
A — =1— =?-
^
down the iiol - bw, Come flop - ping down the hoi - low.
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^abb (2,2,2,2,2).
Circular tune (V).
'Old Turkey Buzzard.' Sung by Carl G. Knox at Trinity College about 1922-
24.
F-106
'f=^
Old
tur - key buz - zard, Lend me your wings To
i
3^
=r
^
fly
cross the riv - er To see Sal - ly King.
Scale: Mode III. Tonal Center: c. Structure: ab (2,2). The tonal center
is the lowest tone.
107
Too Young to Marry
'I'm My Mammy's Youngest Son.' Sung by Dr. I. G. Greer at Boone, Watauga
county, in 1915 or 1916.
PLAY-PARTY AND DANCE SONGS
77
F-107
-<5»-
-^
^
I'm my mam-my's young- est son, I'm my mam-my's
^m
^
-tS>-
* ^ *
ba - by, I'm my mam-my's young-est son, I'm too young
4t=^:
^
for to mar - ry yet. I'm too young, I'm too young, I'm too
fczf;
1?=f:
3:
young for to mar - ry yet; I'm too young, I'm too young,
i
i=;
tEE^
w
^
-• — -^ — ^
I'm too yoimg to mar - ry yet; I'm my mam - my's
i=t
r=1:
T-^^^-X
young-est son, I'm my mam-my's ba - by, I'm my mam-my's
i:
f^^
I
young - est son, I'm too young for to mar - ry yet.
Scale: Hexatonic (6). Tonal Center: b-flat. Structure: aaiabccidcc^eaaiab
(2,2,2,2,1,1,2,1,1,2,2,2,2,2) = aa^bb^aa^ (4,4,4,4,4,4). The tonal center is
the lowest tone.
'Love Somebody.' Sung by Mark Erwin on Rabit Ham in Leicester Town-
ship, Buncombe county, 1921. Mr. Bascom Lamar Lunsford told this editor
that Mark Erwin, like himself, was raised on Rabit Ham Creek and that he
learned this song from the former about 1897. About 1921 he gave this song
to Dr. Brown. The singer treated the second stanza given in printed text as
chorus.
F-108
^
3
w
I'm my mam - ma's dar - lin' chile, I'm
my
78
NORTH CAROLINA FOLKLORE
6=?c
^
^
mam-ma's dar - lin' chile, I'm my mam -ma's dar - lin'
'S-
^^
chile, I'm most too young for to mar - ry yet a while.
^
^
ji=i
I love some - bod - y, yes
do, I love some -
^=f-
1=
fj
bod - y, yes I do, I love some - bod - y, yes I
i
I
w
do.
and
wish some - bod - y loved me
too.
Scale: Pentachordal (plagal). Tonal Center: f. Structure: abaScaSbia^ci
(2,2,2,2,2,2,2,2) = aai (8,8).
108
Poor Little Kitty Puss
'Pore Little Kitty Puss.' Sung by Bascom Lamar Lunsford at Turkey Creek,
Buncombe county in 1921. There is no chorus given on the recording. F.C.B.
notes : "Fiddle Tune."
F-109
m
s
Pore lit - tie Kit - ty Puss, Pore lit - tie fel - ler.
I
Pore lit - tie Kit - ty Puss Died in the eel - lar.
Scale: Irrational (4,5), plagal. Tonal Center: g. Structure: abac (2,2,2,2)
= aai (4,4). Every phrase cadences on I.
109
Fare You Well, My Own True Love
'Fare You Well, My Own True Love.' Sung by the Rev. Andrew Jackson
Burrus some time before 1922, at Weaverville, Buncombe county. The minor
PLAY-PARTY AND DANCE SONGS
79
differences in text are given in the score below. Measures 1-2 and 5-6 are
melodically like 'Old Joe Clark' (F-86, F-87, and F-89). The chorus of F-87
and, to a lesser degree F-86, is related to that of this tune. For other texts
for chorus cf. FSoA 14 'Winter's Night'; SharpK 11 113, No. 114 A and
FSUSA 66-7 'Dink's Song.'
F-iio
fca^
:^
J- V J-. -J-
I had a keg of rum, Sug - ar by the pound,
tJ
If
tJ
W
--A N-
W^:
Great big bowl to put it in, And a spoon, I'd stir
it round.
mm
^^-
V J-.
-J- V
Fare you well, my own true love, Fare you well, I say;
i
Fare you well, my own true love, I'm gwine a
way.
Scale: Heptachordal. Tonal Center: c. Structure: abacdbdc (2,2,2,2,2,2,2,2);
a and d are related. Over-all form: aa^bb^ (4,4,4,4). The tonal center is the
lov/est tone.
Ill
Wish I Had a Needle and Thread
'Wish I Had a Pig in a Pen.' Sung by Miss Jean Holeman at Durham,
in July 1922. F.C.B. notes: Cf. Missouri Play Party Song in JAFL. The
last two measures are the same as in 'Go Down Moses' (F-S02). There is
no chorus in the version as recorded.
F-iii
^_
Wish I had
pig
in the pen And the
to
feed him on.
All
want
8o
NORTH CAROLINA FOLKLORE
I
^
5
-:ir. i — ' •-
pret - ty lit - tie gal To feed him when I'm gone.
i ri I ^| 1
-A — v— A — V-t — \ — K-H
€) ^ ^ ^- ^ J J J-
u-^^ j-h:t'_^_Ez-^;w^
Scale: Irrational (4,6), plagal. Tonal Center: f. Structure: abed (2,2,2,2),
'Italy.' Sung by Willard Randall at Ellenboro, Rutherford county. No date
given. Mr. Lunsford told this editor he collected this song together with Dr.
R. W. Gordon, and later (1925) gave it to Dr. Brown.
F-112
i
:2:
:^
:^^
Yon - der comes a pret - ty lit - tie girl, Tell you how I
AL \ ^ ^ ^ PS ^ ^ ^ s N ^ N_
4— J ♦ #' 1 / #' j~=^-l ^ * ^ ^ ^ ^
know; Her head is full of pret - ty lit - tie curls A -
^^
TPPc
S
hang - in' down so
low.
I'm
go - ing to I - ta - ly
S
^
5
:e==d=
5
'fore long, — I'm go - ing
to
I - ta - ly 'fore long, — I'm
=i*=^
S
^» — •-
:?^=^
I
:St=J:
go - ing to I - ta - ly 'fore long
For melodic relationship cf. **FSSM
VI, 131.
Scale: Mode III, plagal. Tonal Center
2,2,2,2,2) = aa^bbi (4,4,4,4).
To see that gal — of mine.
44 (especially in chorus) ; *JAFL
c. Structure : aba'^cdedc^ (2,2,2,-
LULLABIES AND NURSERY RHYMES
112
Bye Baby Bunting
'Bye Baby Bunting.' Sung by J. T. C. Wright at Boone, Watauga county,
in 1922. The value of the quarter was doubled and the original measure halved.
F-113
E3Ei
^m
Bye, ba - by bunt - ing, Dad-dy's gone a hunt - ing To get a
m
lit - tie rab -bit skin To wrap the ba - by bunt -ing in.
Scale: Pentachordal. Tonal Center: e-flat. Structure: aba^c (2,2,2,2) =
aa^ (4,4). The tonal center is the lowest tone.
112(1)
'By O' Baby Bunting.' Sung by Miss Eva Mangum at Durham, in 1922. The
version by Mrs. L. Pridgen (record X-ii) is identical with the present. The
whole melody closely resembles that of 'Yankee Doodle.'
F-114
^^l-f^-^—^,-^
^ s — r^ — ^ —y-
^>^-H ^ ^ • [—
b— il 4 ^-I-^'
Bye
, ba - by bunt - ing, Dad-dy's gone a hunt - ing To
I
^^^^
^rs
get a lit - tie rab-bit skin To wrap the ba - by bunt-ing in.
Scale : Heptachordal, plagal.
= bar.
Tonal Center : e-flat. Structure : mmin (2,2,4)
114
Kitty Alone
'Cradle Song.' The ms score gives as title: 'Fairy's Lullaby.' Sung by Mrs.
Silas Buchanan of Horse Creek, Ashe county, probably between 1921 and
82
NORTH CAROLINA FOLKLORE
1925. For related texts, especially the burden 'Kitty Alone', cf. HFLB Vol.
V, No. 3; JAFL XXXV 394-9; JAFL xxxix 195; SharpK 11 321; SCSM 247
and 420; LT 22; PTFLS xx ; MemM 49; GCS No. xiii ; FSM 274; AMS 97;
ANA 74-6; SFLQ VIII, 180 B; for first line cf. OFS in 201.
F-iiS
7^-4 . 1 \ \ \ f^
\J -0- -w~ ~W' -(S^
Saw
a - fly - ing low. Kit - ty a lone,
^
Kit
ty
a
lee. Saw
crow a - fly - ing low,
5
^
^-
Kit - ty
lone
lee.
Saw
1
tow.
fly - ing low
And
cat
spin - nin
i
^^^
§
^=^=^
Rock - a - bye ba - by bye,
rock
■i5>-
a - bye ba - by bye.
For melodic relationship cf. **SCSM 420 C (measures 1-8) ; HFLB Vol.
V 8s ; LT 22, first half only.
Scale: Heptachordal, plagal. Tonal Center: c. Structure abacdd^eel (2,2,2,
2,2,2,2,2) = aa^bc (4,4,4,4).
"5
HusH-A Bye, Don't You Cry
'Hush-a By.' Sung by Miss Laura M. Cromartie at Garland, Sampson county.
No date given. The first two measures are melodically the same as the begin-
ning of the famous movement from Dvorak's Neiv World Symphony. Meas-
ures 5 and 7 also can be found there. For an additional text see second stanza
of SharpK 11 341 No. 233.
F-116
i
Hush - a - by and don't you cry,
An'
go
to
LULLABIES AND NURSERY RHYMES
83
■t_j [N ^^=^
=3=
3^
sleep, -
lit - tie ba - by; When you wake you shall
=fc
a^li
have some cake An' ride
pret-ty lit - tie hor - sey.
For melodic relationship of. ***TNFS 145 'Lullaby'; **Asb 454, measures
3-4; TexasFS 267, measures 3-4; FSUSA 14-15, our measures 3-6 and 8-1 1
there; *SharpK 11 341, No. 233.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aba^b (2,2,2,2)
= aai (4,4).
116
Go TO Sleep, My Little Pickaninny
'Little Alabama Coon.' Sung by Mrs. L. F. Banks at Alliance, Pamlico coun-
ty, in 1927. Certainly of minstrel origin. For related text cf. ANFS 397.
The inverted \Lf simply indicates a little shortening of the normal value rather
than a lengthening as in its regular use.
F-117
i
^
^
:|^
*:
^3
^
Fse
lit - tie Al - a - bam - a coon, Hain't been bom
St
^^
5
long. I 'mem-ber see - in' a big round moon.
^
s
'Mem - ber hear - in' one sweet song. When they brought me
-M— ^
N—
^
rr ^ ^ ^-
1—
N—
N
J
^
p
^
~
!
T("\^ ^ '
^
4
9
9
v> )
*J
down through the cot - ton fields
rolled down and
-9-& — ^
s — -f-1
— f^
— ^^-
— ^
1
y^^n! ^t_
« J
{^Y-SL^ ^^
w
•
4—
t—
#
turn -bled in the sun; Dad - dy picked de cot- ton and
84
NORTH CAROLINA FOLKLORE
5
mam-my watched me grow, And dis am de song she sang
^
t^^
m
S
i
Go to sleep, my lit - tie pick - a - nin - ny. Broth - er
± I I N ^ N N
"" / / r
m
Fox '11 catch you if you don't; Slum-ber on de
^17 J J^ _J J I ^ • ^ j- ^^ ^ ^ J
bos - cm
i=fc:
^
gwine to switch you if you won't. Hush- ush-hush - lu-
\^——-—f:^———--^—-s--^--r^-—zz=IZZ=zzI—-^——--
AL . 1_ 0 j 1 1 j 1^
lull - a - lull - lu - lull - a — Un - der - neath the sil
^
m
south -em moon; Hush - a - bye, rock- a - bye, mam-my 's Ut
I
fc={v
^
a
^H?=^
-^ —
tie ba - by, Mam-my's lit - tie Al - a
For melodic relationship of. *JAFL XLi SQO-i.
ba - ma coon.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abacdeffg
(2,2,2,2,2,2,1,1,2) hiffigi (2,2,1,1,2) hiiffig2 (2,2,1,1,2) = aaibcdcMic- (4,4,
4,4,4,4,4,4). If one considered all of the stanza as epode (Abgesang), then the
two following Stollen of the chorus would make the whole an inverted bar.
117
Poor Little Lamb Cries 'Mammy !'
'Black Sheep, Black Sheep, Where'd You Leave Your Lamb?' Sung by R. D.
Ware from Albemarle, Stanley county, at Trinity College. No date given.
LULLABIESANDNURSERYRHYMES 85
for different text but
In FSoA this song has the title: 'Bones.' Cf. AMS
same refrain.
F-118
i
^
-4-^
'Black sheep, black sheep, where'd you leave your lamb?' *I
left him down in the val
ley.
Birds and the
but - ter - flies pick - ing out his eyes
— V —
And
— w-
the
i
poor lit - tie thing- cry - ing, "Mam - ma, mam
For melodic relationship cf. *OFS ir 345-6 ; ANS 250.
,,".
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abac (2,2,2,2)
= aai (4,4).
120
The Frog's Courtship
'A Frog Went A-Courtin'.' The ms score gives neither the singer, the place,
nor the date. This song belongs to Belden's type I. The old nursery song about
the wedding of the frog and the mouse was mentioned in The Complaynt of Scot-
land in 1548 under the name 'The Frog cam to the myl dur.' Ravenscroft
gave it in his Melismata, Musicall Phansics, fitting the court, citie, and coun-
trey humours, to three, jotir and five voices, published in 161 1.^ 'A most
strange weddinge of the frogge and the mouse' was a ballad mentioned by
Warton in his History of English Poetry, as licensed by the Stationers in
1580. And W. Gillies Whittaker in his Collected Essays (p.17) mentions
a similar song as one of fifty-eight which a Miss M. H. Mason published with
piano accompaniment in 1878. George Pullen Jackson in SFLQ xiii 133-5, men-
tions two German kindred songs.
F-119
^
9r-i-
Frog went a - court
and he
did
ride.
86
NORTH CAROLINA FOLKLORE
-T N
tJ
S
id-
Ring ting bot - torn and a ky - mo Sword and pis - tol
: ^ < N
M J J:
i
by his side. Ring ting bot - torn and a
IN
B
ky - mo.
^
Hel - lo na - ro he's my
- ro, Hel - lo ca - ro
P
-r:^
nar - row, Ring ting bot - torn dit - ty boat a - round,
i
i
"^ Ring ting bot - torn and a ky - mo.
For melodic relationship cf. ***FSF 411, measures 3-4, 7-8, 9-12, and 15-
16; **BSM 495, measures 7-8 with our 3-4, 7-8, and 15-16.
Scale: Pentachordal. Tonal Center: f. Structure: abaibcciab (2,2,2,2,2,2,2,2)
= aa^ba^ (4,4,4,4) = Reprisenbar.
1 It begins: It was the frogge in the well,
Humble dum, humble dum,
And the merry mouse in the mill,
Tweedle, tweedle, twino.
'Frog Went A-Courting.' Sung by D. W. Newsom at Durham in 1920. Judg-
ing from the ending of the stanza, that of the chorus is probably the same,
the f-sharp occurs only once, at the end of the chorus. As everything else
is identical in the last two measures of both stanza and chorus, it can be safely
assumed that the change was due to 'a slip of the tongue' or the constant in-
fluence of the major-minor everywhere. The basic underlying scale is certainly
Mode I. An identical version was contributed by Mrs. Sutton. Melodically,
the beginning reminds one of 'Goodbye, Broadway, Hello France.'
F-120
fcj^
— N-
Mis - ter Frog went a - court - ing and he did ride,
h
^
Rain down bon - ny mish ki - me - oh Sword and a pis - tol
LULLABIES AND NURSERY RHYMES
87
by his side, Rain down bon - ny mish ki - me - oh.
5
Ke - ro ki - ro gilt and ga
Ke - ro ki
i:
^
^^
ka
ro Rap Jack pen - ny - win - kle flam - my - doo - die
i
i
jv-
^ -* 9^ ^-* * • • ^
yel - low buc - kle Rain down bon - ny mish ki - me - oh.
For melodic relationship cf. **SharpK 11 312, measures 6-7, 14-16 with our
13-14; *FSmWV 58-59; AFSCh 116; FSoA 12; SCSM 420; ABFS 310;
SFLQ XIII 133; and FSONE 200; (in all of these the beginning only) ; AMS
78, measures 1-2 and 4-5.
Scale : Hexatonic (4) plagal. Tonal Center : g. Structure : aba^bccidb
(2,2,2,2,2,2,2,2); as d is only a variation of a, we could analyze: aa^ba
(4,4,4,4) = Reprisenbar.
B(I)
'Frog Went A-Courtin'.' From a record made by Dr. Amos Abrams at Boone,
Watauga county, of the singing of James York from Olin, Iredell county,
August 8, 1940. The ending of both the stanza and the chorus is almost
identical with that of F-119. The same phraseology as in measures 7-8 can
also be found in F-122 and F-128. The text is a compound of several versions.
The refrain belongs to Belden's type I. The first two measures are the same
as in 'Old MacDonald Had a Farm.'
F-121
&:
3
3
±1
Miss Mouse blushed and hung her head, Rain down bon - ny mish
^m
i
^
ki - me
oh.
Miss Mouse blushed and himg her head,
i
^^
I
Says she has to ask Mis - ter Rat Ring ting
88
NORTH CAROLINA FOLKLORE
^
^
1
bot - torn with a ki - me - oh. Ke - ro ki - ro
1
gilt and ga - ro Ke - ro ki - ro
ka
1^=^
t^
?
Rap Jack pen - ny - win - kle flam - my - doo - die yel - low
^
*=±
i
i
buc - kle Rain down bon - ny mish ki - me
oh.
For melodic relationship cf. **FSSH 396, measures 1-4; JAFL xxxv
393, measures 7-10; JAFL xlii 298, measures 1-3; BSO 137, last six mea-
sures; FSF 411, measures 3-4, 9-10, 17-18; *BSI 237; FSmWV 56, and
SFLQ XIII 133.
Scale: Mode III, plagal. Tonal Center: g. Structure: abcdbcc^c^b (2,2,2,
2,2,2,2,2,2) = abcdc (4,4,2,6,2). The second part of the stanza is internally in-
cremented. For economy of means, the first six measures of the chorus can
hardly be surpassed. All of these measures are based on the fifth measure of
the stanza.
D
'Frog Went A-Courtin'.' Sung by James York. Recorded at Boone, Watauga
county, by Dr. Amos Abrams, August 8, 1940. The refrain is Belden's type
III. Compare our measures 1-2 and 7-10 with 1-2 and 5-7 of F-121.
F-122
^^
-g^
-T$>-r-
4. He went in and took Miss Mouse up - on his knee, M-m H -
m — He went in and took Miss Mouse up - on his knee,
I
:^=
Says, 'Miss Mouse will you mar - ry me?' M-m H - m.
For melodic relationship cf. **JAFL xxxv 393, last four measures ; JAFL
XLII 298, first three measures; FSSH 395 C(396 D beginning only) ; FSmWV
LULLABIES AND NURSERY RHYMES
89
56, last four measures; BSI 237, same; BSO, our final four measures with the
last six there; *BSM 29-30, ending; SFLQ xiii 133, beginning.
Scale : Mode III, plagal. Tonal Center : g. Structure : abcdb (3,2,3,2,2,) ;
a as well as c is internally incremented.
'Frog Went A-Courtin'.' Sung by Mrs. Ephraim Stamey at Altamont, Avery
county, July 14, 1940. The beginning reminds of George M. Cohan's 'Goodbye
Broadway, Hello France.' Compare also measures 6-7 with 5-6 of F-120.
Cf. EFSS 88-9, No. 43.
F-123
3
^
±hz^
i> N i
J- V '
5. Not with -out Un - cle Rat's con - sent, With a hee - ah - ha.
!^
Not with - out Un - cle Rat's con - sent
I would - n't
s
mar - ry
5
the Pres - i - dent, With a hee - ah
ha.
^
t
For melodic relationship cf. ***SCSM 420; SharpK 11 312 No. 220 A; ibid.,
316 No. 220 E; FSmWV -^8; PSL 461 ; **SharpK 11 313 No. 220 B ; ibid.. 317
No. 220 F; and 319 No. 220 K; BSO 137; ABFS 310; BSSM 457; AMS 78;
OFS III 198; OSSG 7-9; AFSCh 116; *FSoA 12; ASb 143; OFS I 404;
SFLQ XIII 133.
Scale: Mode III, plagal. Tonal Center: f. Structure: aba^ (3,2,3), a rather
unusual structure ; the beginning of a^ is considerably modified.
'A Woodman's Song.' Sung by Mrs. Minnie Lee at Alliance, Pamlico county
in 1927. Measures 2-3 and 5-6 are melodically identical with the last three
measures of F-122. The refrain belongs to Belden's type III. There is an
evident elision between the third and fourth measures and likewise a shortening
at the end of the phrase.
F-124
m
^
m
i
^
3. 'Say, Miss Mouch - y, where will we be?' M-m H-m. 'We'll
90
NORTH CAROLINA FOLKLORE
fc=1^
:l?=3t
^
build our house in a hoi - low tree,' M-m H-m.
For melodic relationship cf. **ASb 143, the first four measures ; JAFL
XXXV 393, the first three measures.
Scale: Mode III, plagal. Tonal Center: a-flat. Structure: abab (2,1,2,1)
= aa {z,z).
'Froggie Went A-Courtin'.' Sung by Gurney Smith. Recorded by Dr. Amos
Abrams at Boone, Watauga county, probably August 8, 1940. This song
belongs to Belden's refrain type I. Our Familiar Songs, p. 434, gives a
version. 'A Frog He Would A-Wooing Go' and credits this to White as
author, referring to tune as "Scotch Air."
F-125
^
:2:
'When's our wed - ding go - in'
to
be?' Ta - ma - ring
/i^J J
^
^
ting by ti - chie Ki - mo.
'Fri - day night or Sat - ur -
±:
^
S:
-z;^-
day.' Ta - ma - ring ting by ti - chie
Ki
^=^=^
Ko - mo Ne - tro, Kee - mi Ni - tro Ko - mo Ne - tro
M=^-^^Mi
Ni - tro. Tam - a - ram ba ba Tam-pa teel lay bo
1
r^:
it
^;
:2:
Tim - a - ring ta - ma - ring ting by ti - chie Ki - mo.
Scale: Mode III, plagal. Tonal Center: a. Structure: aa^bb^c (3,3,2,2,4); a
and a^ are the strophe and antistrophe to which the refrain makes the con-
cluding song or epode. It is interesting to observe here that the refrain itself
constitutes a bar also; c is partly related to a. Over-all form: mm^n (3,3,8)
= bar.
LULLABIES AND NURSERY RHYMES
91
CC
'Frog Went A-Courtin'.' Sung by James York at Boone, Watauga county,
August 8, 1940. This version came at the very end of the record. Of the
stanza only parts of the text could be understood. The remainder of the
stanzas recorded will be found below. This tune belongs to Beldcn's refrain
type III. F. C. Brown remarks at the end of all the variants sung by James
York: "With refrains of various kinds from many people." The last four
measures are identical with the corresponding measures of F-122. Measures
7-8 are identical with 6-7 of F-121. The first two measures are closely re-
lated to those of F-120.
F-126
±
'^-^
i
■ . j^
Un - cle Rat gave his con-sent. M
m
-0-
H
-i5>-
m Un - cle
H - m.
Rat gave his con-sent M -
For melodic relationship cf. ***OFS i 404; TBSSG, no page (mimeo-
graphed edition); AMS 78; **JAFL xxxv 393, last four measures; JAFL
XLii 299, measures 1-3 and last four; OSSG 7; FSONE 200; SHP 26; SharpK
II 312, No. 220A and 319, 220K, measures 1-3 and 7; ABFS 310, measures i-
4 and 8-10; AFSCh 116, first four measures; BSM 493, first three measures;
BSO 137; first four measures; OFS in 198, measures 1-3; FSmWV
56, measures 1-4 and 8-10; FSSH 394, last phrase; *FSoA 12, measures 1-3;
SFLQ XIII 133.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: aba^ (4,4,4)-
2nd stanza:
O what shall the v^^edding supper be? M-m, H-m,
O what shall the wedding supper be?
Two green beans and a blackeyed pea, M-m, H-m.
3rd stanza:
Of what shall I make the wedding gown? M-m, H-m,
Of what shall I made the wedding gown ?
A piece of silk of the old grey hound, M-m, H-m.
DD
'Frog Went A-Courtin'.' Sung by Miss Clarice Burleson at Crossnore, Avery
county, August 8, 1940. This tune belongs to Belden's refrain type I. The
first measures are similar to those of F-121 and F-122 as well as F-128. There
is also considerable relationship with F-130.
F-127
2t
M:
f
Frog went a - court-in' an' he did ride, Ke - mo, ki
92
NORTH CAROLINA FOLKLORE
3
:S=tE
^
T^
^
4 4 ¥
ka - ro, Sword an' a pis - tol by his side, Ke - mo,
^m
-r^
ki - mo, ka - ro. Ke - mo, ki - mo, Lon - don ki - mo,
:t:
^
^^^
^
i
ka
ro Lick da ma sag dum a - lick da dum a log,
^
f
Meen
ki
y mme - y, meen - y mme - y
For melodic relationship cf. ***SFLQ xiii 133; **FSSH 396, stanza only;
*SharpK 11 320, No. 221A, measures 1-2; Texas FS 255, Measures 3-4, 7-8,
and 14-15 ; JAFL xlii 298, stanza only.
Scale: Mode III, plagal. Tonal Center: f. Structure: ababca^b^ (2,2,2,
2,3,2,2) ; c is extended one measure because of either initial or terminal in-
crementation. Over-all form : aaba^ (4,4,3,4) ^ Reprisenbar.
2nd stanza :
He rode up to Miss Mousie's door,
Kimo, Kimo, Karo,
He knocked so hard that it made it roar,
Kimo, Kimo, Karo,
3rd stanza :
Miss Mousie got up and let him in,
The way they courted was a sin.
4th stanza :
He took Miss Mousie on his knee.
Said, 'Miss Mouse, will your marry me?'
The refrain is, of course, interpolated as in stanza 1.
'Frog Went A-Courtin'.' Sung by H. A. Eggers. Recorded at Boone, Watauga
county, by Dr. Amos Abrams, August 24, 1939. Measures 1-2 and 5-8 are
identical with measures 1-2 and 4-7 of F-121. There is likewise considerable
similarity with F-122. The elisions in measures 2 and 8 are evident. A
second recording varies the text and refrain of the third stanza.
F-128
:2:
^^
?
-^-#-
^^
Frog went a - court - in' and
did ride,
hoh!
LULLABIES AND NURSERY RHYMES
93
^
2^
hoh! Frog went a - court - in' and he did ride
I
w
?
::3i
Sword and pis - tol by his side, A - hoh! A - hoh!
J I J J i J
i
Frog went a - court - in' He did ride, And a - hoh,
8-9
^
^
^=#
-^ — ^
and a - by his side And a - hoh, and a
Stanza 3 only 1-1-2
W^
3^
:^=^
He went in and took Miss Mouse up - on his knee And a -
-^5*-
?^
hoh, and a - hoh. He went in and took Miss Mouse up
i
if
on his knee, Says, 'Miss Mouse will you mar - ry me?'
Second recording
^
¥^^
3e:
^=d
i -; i'
And a - hoh, and a - hoh!
He went down to Miss
i
1^=^
a=t
^
Mous - ie's house, A - hi - a - hah,-
He went down to Miss
i
§
^
I N N
*—^
-#-#-s^
Mous-ie's house, Says Miss Mouse house with a hi - a - hah. —
For melodic relationship cf. **OFS i 404, No. 108C; AMS 78, last six
measures; JAFL xxxv 393, last four measures; JAFL xlii 298, first three
94 NORTHCAROLINAFOLKLORE
measures; *FSSH 396, our initial two measures with first four there; SharpK
II 320, No. 221, measures 1-2; SFLQ xiii 133, measures 1-2.
Scale: Mode III, plagal. Tonal Center: f. Structure: abcdb (2,2,2,2,2).
APPENDIX I
'Kitchie Ki-Me-0.' Contributed by Miss Lucy Logan Desha at Salem Col-
lege, Winston-Salem, Forsyth county, in 1927. Cf. the notes in III 165.
Such nonsense songs appeared in London with the introduction of the anti-
slavery sentiment during the forties and fifties of the nineteenth century.
Basically, the melody of the stanza as well as the first two measures of the
refrain is that of the tune to 'Turkey in the Straw,' simplified, to be sure.
F-129
vA
-.Sn=±
Way down south where the nig - gers grow, Sing song
*=fc
^
3
f— f-
kit - chie kit - chie ki - me - o, That's where the white folks
i
plant their tow, Sing song kit -chie kit - chie ki - me - 0; They
i^
^
cov - er the ground all o - ver with smoke, Sing song
^m
-^1
kit - chie kit - chie ki - me - o, Up the dark - ies'
i=f^
^
^
W
heads they poke, Sing song kit - chie kit - chie ki - me - 0.
V'T m m m
» m
1 1 1
/\ * r r
• II d d
j0 \ m \
i(v\ •
m \ • V
9 ^
w — ^-^
1 1
Ke - mo, ki - mo, da - ro - ar, Me -he, me - hi, me - ho;
4^
^
^i=^
In comes Sal - he sing - ing some - time pen - ny - win - kle
LULLABIES AND NURSERY RHYMES
95
link - turn nip - cat Sing song kit-chie kit-chie ki - me - o.
For melodic relationship of. ***SharpK ii 320, No. 221 A; Ford 106; EAS
No. 52; **AMS 99, chorus only; FSoA 86, stanza only; BSO 143, stanza, only
minor in refrain; FSSH 396, No. 144D, stanza only; OFS II 364, refrain only;
TNFS 156, melodic line.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: ababiababicdaib2
(2,2,2,2,2,2,2,2,2,2,2,2) = aa^aa^ba^ (4,4,4,4,4,4). Taking aa^ as strophe as well
as antistrophe, the refrain would be the concluding song or epode, the over-all
form then is that of a bar.
APPENDIX 2
'Kitchie Ki-Me-0.' Sung by Mrs. Brown at Winston-Salem in 1927. A song
in BSO 142, with the same refrain, has the title: 'The Opossum' or 'Down in
Sky-Town.' Cf. also SharpK 11 320, No. 221 A; 'The Frog in the Well.'
The text of the fourth measure from the end was supplied from the Ohio version
as it was missing in the ms score. Referring to this one measure a note on
the MS score says: "There is probably something missing here which she
couldn't remember." The missing link has been constructed from the material
of the preceding measure given in the ms score.
F-130
in a pool, Sing song kit - ty
±
-^r-
Sure he was the big - gest fool,
kit-chie ki - me - o; But he could
3^^^^
Sing song kit - ty kit - chie
W • *-
Make the woods a - round him ring,
fl^
Sing song kit - ty kit-chie ki - me - o. Ke - mo, ki - mo,
96
NORTH CAROLINA FOLKLORE
u
da - ro - ar, Me - he, me - hi, me - ho; In come
^
:^
^
Sal - ly sing - ing some - time pen - ny - win - kle
^
sock
per
tie war - tie in-
link - turn nip - cat
:^
^^
I
Sing - ing kit - ty kit - chie ki - me - o.
For melodic relationship of. **SharpK ii 320, No. 221, refrain only; BSO
142, refrain only; OFS 364, refrain only; *TNFS 156, ending only; EAS,
No. 52, refrain only; AMS 98, refrain only.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abab^ababicdee^b^
(2,2,2,2,2,2,2,2,2,2,2,2,2) = aa^aa^cde (4,4,4,4,4,4,2). Each aa^ could be con-
sidered as strophe and antistrophe and cde as epode. The over-all form
would then be that of a bar.
APPENDIX 3
'Kitchie Ki-Me-0.' Contributed by Sutton-Wilder. No place or date given.
There is some melodic relationship with F-127. For another text cf. Ford
4S0-I.
F-131
^
^^^
3
^
Milk in the dai - ry nine days old, Kit - chy, kit - chy,
^^^EEi
i:
5
%
kit - chy, kit - chy ki - me O, Ma he, ma hi,
-N N PV-
it
^
^
5l=St
3^
-^
V L-.
ho, ma hum, Kit-chy kit -chy kit -chy kit -chy ki - me O.
For melodic relationship cf. **BSO 142, 11 stanza only SharpK 11 320, No.
221 A, stanza only; OFS 11 363, No. 282A, general melodic line.
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure:
(2,2,2,2) = aai (4,4)- The tonal center is the lowest tone.
aba^b
LULLABIES AND NURSERY RHYMES
97
121
Billy Boy
'Charming Billy.' Sung by G. W. Murphy of Trinity College, Durham, in
1914. MS score by Mrs. C. R. Westwood of Wallace, Duplin county. The
latter was used by Dr. B. H. Bronson in TTCB 233, No. 21. For the same
basic text cf. SO 192-3 and FSF 420-2.
F-132
^tf:
^^^
'Oh! — where have you been, Bil - ly boy, Bil - ly boy,
S
^^i
W^-
:;t
Oh! — where have you been, charm-ing Bil - ly?' 'I've been
i
^ ; B
-^ i^=]
"^y—d
seek - ing me
wife, she's the com - fort of
my
m^^^^
ijc
w
s
life; She's a yoimg thing, and can't leave her moth-er.'
For melodic relationship cf. ***FSONE 166 ; MemM 72, ; JAFL xxxi 161,
first ten measures; BTFLS iii 94, No. 4, except the ending; TTCB 233, No.
21, measures 4 and 8 differ somewhat in the recording from the score men-
tioned above. **OFS i 391, except last phrase; FSS 532, first half; BSO
117; SharpK 11 38, No. 89A, beginning; SCSM 435; JAFL xxxiii 92, iirst
four measures.
Scale: Pentachordal. Tonal Center: e-flat. Structure: aa^bcd (4,4,2,2.4)
= ab (8,8). ^ ^'
A(I)
'Billy Boy.' Sung by Miss Shell at Lenoir, Caldwell county, no date given.
The variations given are derived from a second, otherwise identical recording
sung by Miss Clarice Burleson and J. Powles at Crossnore, Avery county in
1940 (collected by Mrs. M. M. Sutton). With the exception of the last
phrase, this version is almost identical with F-132.
F-133
M
^^
'Where have you been, Bil - ly boy, Bil - ly boy.
98
NORTH CAROLINA FOLKLORE
^^^^^EE^
Where have you been, charm-ing Bil - ly?' 'I have been to
m
^-
^^==?
seek my wife, for the joy — of my life; She's a
— N
:^
i
^
?
yoimg thing, and can - not leave her mam - my.'-
1-2 4 6
r .^^4^
I 0 0
^^^3^^
^
4!^
For melodic relationship cf. ***FSONE i66; BSO 117; BTFLS in, No.
4, 94; JAFL XXXIII 92; OFS I 391; FSS 532; **JAFL xxxi 161; SharpK 11
38, No. 89A.
Scale : Hexachordal. Tonal Center : c. Structure : aa^bcd (4,4,2,2,4) = ab
(8,8). The tonal center is the lowest tone.
A(2)
'Charming Billy.' Sung by Otis Kuykendall at West Asheville, Buncombe
county, on July 18, 1939.
F-134
:2:
S
^
:^=^
'O where have you been, Bil - ly boy, Bil - ly boy, O
where have you been, my charm - ing Bil - ly?'-
Tve been to
m
^
^
hunt me
wife, the joy of my life; She's a
^^=f=
^ ^ ^ r ^ r. r H
fcifci-
—^ • • f iT i—~f—^ H
young thing, and can - not leave her mam - ma.'
LULLABIES AND NURSERY RHYMES
99
For melodic relationship cf. **JAFL xxxi i6i, measures i-2 and 5-6.
♦BTFLS III No. 4, 94; TTCB 227 (Appendix) No. i, the melodic tendency of
our first six measures and the first three there.
Scale : Heptachordal. Tonal Center : c. Structure : aa^bcd (4,4,2,2,4) ; c is a
free inversion of b. Over-all form: aa^bc (4,4,4,4) = mm^n (4,4.8) =
barform.
'Billy Boy.' Sung by Miss Ada Wilson at Silverstone, Watauga county,
June 22, 1921. Cf. TTCB 230, No. 10.
F-135
^E^
I
5
fS> '
'O where have you been, Bil - ly boy, Bil - ly boy,
^ 9
^
i-trr-
_j__^
2-vz
O, where have you been, charm - ing Bil - ly?' 'I have
i^
HS
h fV-
!\ N-
^
been to see my wife, she's the joy of my hfe;-
^^
i
i
^
But she's a young thing, and can't leave her moth - er.'
For melodic relationship cf : ***TTCB, quoting this collection ; our score
was taken down from recording.
Scale: Mode III, plagal. Tonal Center: g. Structure: mm^n (2,2,4) = bar-
form.
122
Oh, Dear, What Can the Matter Be?
'Oh, Dear, What Can the Matter Be?' Anonymous singer. No date or place
given. This tune is also known as 'Johnny's So Long at the Fair.' How a
folk tune is converted into a hymn can be seen from 'Send Us a Blessing' ;
cf. SOG, No. 100.
F-136
i
m
m
*
Oh, dear, what can the mat - ter be? Dear, dear, what can
lOO
NORTH CAROLINA FOLKLORE
m
^
the mat - ter be? Oh, dear, what can the mat - ter be,
^
^
i=
w^^m
John-ny's so long at the fair? — He prom-ised to bring
me a fair - ing to please me, And then for a kiss, oh, he
^
vowed he would tease me; He prom-ised to bring me a
i
I
it
J' f I p j^
w
bunch of blue rib - bon To tie up my bon - nie brown hair.-
For melodic relationship cf. ***Ford 351; PMOT 11 732; T 55CS, No.
49; **SFLQ VI 252.
Scale: Hexatonic (6), plagal. Tonal Center: d. Structure: abacaibia^c
(2,2,2,2,2,2,2,2) = aa^a^aS (4,4,4,4). The a^ is more varied than a^ although
it occurs first. Measures 9, 11, and 13 are good examples of variation of mea-
sures I, 3, and 5, brought about by a mere repetition of the first half of
measure four, showing again the economy of means.
'Johnny, Oh Johnny.' Sung by Miss Jewell Robbins at Pekin, Montgomery
county, between 1921-22. F.C.B. notes : "Enlisting Song in "Old Time
Songs.' This is different air from that in book." Except for the beginning,
the words were borrowed from the last two lines of the first stanza of 'Oh,
Dear, What Can the Matter Be?' Ill No. 122A. The melody has the
rather unusual range of one octave and a sixth.
F-137
^
^^
1 ^ 1^ — 1 — ]^ 1^
Oh John - ny, oh John - ny, oh John-ny, oh John - ny, What
^
t
makes you go out in the park? You prom - ised to
LULLABIES AND NURSERY RHYMES
lOI
^
^
buy me a bunch of blue nb - bons To tie up my
^
^
E
bon - nie brown hair, — A bunch of blue rib - bons, a
^
^
bunch of blue rib - bons To
tie
up my bon - nie brown
hair. You prom-ised to buy me a bunch of blue
1
i i I '
my bon - nie brown hair. —
rib - bons To
tie up
Scale : Heptachordal, plagal. Tonal Center : d. Structure : aba^cbiba^ci
(2,2,2,2,2,2,2,2) = aa^ba^ =: Reprisenbar, or following Gennrich, a "rounded
chanson."! As so frequently, the ending on III and others like it are deceptive.
Actually, the melody ends on II, and III is merely a passing tone. The same
holds true for the ending on II in the next phrase and on V in the following.
! Grundriss einer Formenlehre des mittelalterlichen Liedes, Halle
(Saale), 1931, p. 245.
123
Taffy Was a Welshman
c
'Old Napper.' Sung by Miss Beulah Walton, of Morrisville, Wake county.
Recorded at Durham, July 24, 1923. For additional text cf. ANFS 232,
No. 16. Compare also our second stanza with the third of 'I Went To My
Sweetheart's House' in TNFS 166.
F-138
r^
3
i
Nap - per went a - hunt -in'; He thought he'd catch a coon.
^^^-
0 0
3
5^
And when his old dog treed — He treed a mush - y room.
102
NORTH CAROLINA FOLKLORE
i
^a
^
2Z
• ^ :Jr
Poor old nap - per, hoo, hoo, Poor old Nap - per, hoo, hoo.
For melodic relationship cf. *FTM 27, measures 1-2; TNFS 156, mea-
sure 2.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aa^bcdd (2,2,2,2,2,2)
= abc (4,4,4)-
124
Barnyard Song
'I Bought Me a Hen.' (Animal Song.) Sung by Miss Pearl Minnish at
Lenoir, Caldwell county, in 1921 or 1922. The A-version of III 172-173 can
also be sung to this tune. Cf. also vol. I 89. Both the first and second stanzas
are given in the score below to show the use of the additional phrase which
serves for the interpolated text. For additional texts cf. FSoA 126 and
FSF 418-19.
F-139
m
J, I J. i j^ ^r^^
I bought me
hen and the hen loved me.
^m
^
— g -g2 • r-
un - der yon - der
fed my hen
tree.
Hen said
^^^
i. i I i J I J- J /
'Fid - die I
fee.
I bought me a duck and the
^
— 9 ^^ —
fed my duck im - der yon - der tree.
duck loved me,
I
W^
J=^i=^-.
Duck said 'Quack, quack,' Hen said 'Fid - die I
For melodic relationship cf. *OFS iii 38, measure four only.
fee.'
Scale: Tetratonic (4). Tonal Center: c. Structure: abc (2,2,2); second
stanza: abdc (2,2,2,2). The tonal center is the lowest tone.
LULLABIES AND NURSERY RHYMES
103
'I Bought Me a Hen.' Sung by Miss Mamie Mansfield at West Durham in
1922. F.C.B. notes : "Different air." Here again two stanzas are given
which show the application of the tune to the varying text. Measure 11,
which serves for the duck is used likewise for every other animal, including,
finally, the wife. The tonal material of these two songs F-139 and F-140 is
absolutely identical. And yet, what use is made of it in each of them ! Com-
pare "Duck went 'Quack, quack' " with previous song.
F-140
^
^
^
^
-^
I bought me a hen, the hen pleased me And I
^
* ^ -^^
hen un - der yon - der tree.
fed
my
Hen went
i
'Fid - die - um
fee.'
I bought me a duck
the
s
^
:J=J:
:2
duck pleased me, And I fed my duck un - der yon - der tree.
i
^^
it
r^"^=?
-±L
^
Duck went 'Quack, quack,' Hen went 'Fid - die - um - fee.'
For melodic relationship cf. **'*SHP 48-49; LT 6-13 (not rhythmically);
*AFSCh 104, refrain only.
Scale: Tetratonic (4). Tonal Center: c. Structure: abc (2,2,2); second
stanza: abdc (2,2,1,2). The tonal center is the lowest tone.
'Barnyard Song.' Sung by Miss Jennie Belvin at Durham in 1921 or 1922.
F-141
:±L
:^
±:
^
-^ ^-
!^l J J J-
» — « — • — ,
I bought me a chick - en, and the chick - en liked me,
i
:±
r^
^
fed my chick - en be - hind that tree. And the
I04
NORTH CAROLINA FOLKLORE
^^
^
-£2-
Chick -en said 'Coo- coo- coo.' Ev - 'ry fel - low
^^
^
^ ^
^
-X— J^— =^-
-<$»-
feeds his chick-ens and I feed my chick-ens too.
^
=S=^
?3^
I bought me a hen, and the hen liked me,
-4 1^
^
._ ^ • ^ ^
fed the he'n be - hind that tree. And the hen said
'Ctek, ctek, cluck.' Ev - 'ry fel - low feeds his
H^
'W^^^^^^^^
-5?—*-
m
chick-ens and I feed my chick - ens too.
Scale: Hexachordal. Tonal Center: c. Structure: abcabc (4.3,5.4.3.5)- The
tcnal center is the highest tone.
125
McDonald's Farm
A
'McDonald's Farm.' Anonymous singer, no date or place given.
Old Mc - Don - aid had a farm, E - i
^^^^^^^^^^^^
— ^ — ' w ^
o And on that farm he had some chicks, E - l e - i
o With a chick chick here and a chick chick there, And
LULLABIES AND NURSERY RHYMES
105
^
=?
^
^
here a chick, there chick, ev - 'ry where chick chick.
^^
N N
^
:S=?^=^
P^^
Old Me - Don - aid had a farm, E - i e - i o.
For melodic relationship of. *OFS iii 211, No. 457; GBFS 126.
Scale: Mode III, plagal. Tonal Center: g. Structure: ababcc^ab (2,2,2,
2,2,2,2,2) = aaba (4,4,4,4) = Reprisenbar or "rounded chanson."
'Oh, Grandma Had Some Very Fine Geese.' Sung by Mrs. Minnie Lee at
Alliance, Pamlico county, in 1927. The beginning of our tune is identical with
that of 'Yankee Doodle.'
F-143
^
^
^
4:
-A-
^
Grand-ma has some ver - y fine stock That Ma
ry
m
m
*
^
feeds in the mom - ing. With a quick-quack here and a
:^
^^
^
quick - quack there And ev - 'ry then a quick and
s
-N-^
^
#
ev - 'ry now a quack, And quick, quack, quack in the mom - ing.
Scale: Mode III, plagal. Tonal Center: g. Structure: abated (2,2,2,2,2); c
is the internal incrementation of the second phrase.
'The Merry Green Fields of the Low Lands.' Sung by Miss Elizabeth Walker
at Boone, Watauga county, in 1936. In the printed text of this version
(III 176) the fifth line of the stanza given in the MS score was omitted.
io6
NORTH CAROLINA FOLKLORE
F-I44
^^E^
My grand - fa - ther has some ver - y fine ducks In the
^
^
tJ
ry green fields of the low - lands. With
S
quack-quack here and a quack-quack there And here a
^
*
quack and there
quack. And ev - 'ry now and
±=i^~^h^
^
then a quack. Oh, say, bon - ny las - sie, will you
1
^
go with me To the bon - ny green fields of the low - lands?
For melodic relationship of. **OFS in 211, No. 457, measures 1-8.
Scale: Hexatonic (4), plagal. Tonal Center: c. Structure: aba^caSbi
(2,2,2,2,2,2) = aa^sfi (4,4,4).
128
Go Tell Aunt Patsy
'Old Grey Goose.' Sung by Miss Clara Hearne at her home near Pittsboro,
Chatham county, for this editor in May 1954. The text variations are given
below. For the source of this tune cf. WSSU 173-4.
F-145
^1^
^
1^
Go tell Aunt Pat
?
^E
Dtzzt:
sy,
Go
tell Aunt Pat
sy,
^"-^iM:
E
s
tell Aunt Pat - sy The old gray' goose is dead.
LULLABIES AND NURSERY RHYMES
107
For melodic relationship cf. ***WSSU 173; Texas FS 263; OSSG 3;
SharpK 11 345, No. 236; SNSAM 3.
Scale: Pentachordal. Tonal Center: c. Structure: aba^c (2,2,2,2) = aai
(4,4). The tonal center is the lowest tone.
2nd stanza :
The one she's been saving
To make a feather bed.
3rd stanza :
The old gander's mouring
Because his wife is dead.
4th stanza :
The goslings are weeping
Because their mother is dead.
129
The Fox and the Goose
'The Fox and the Goose.' Sung by Mrs. A. J. Greene at Heaton, Avery coun-
ty, in 1921. The tune very much resembles that to 'Little Brown Jug.'
F-146
iF^^=f=v^
1
1
i
\
— s \ 1 —
'f if
=}=]
&:2=J=±=i-
•
0
•
j'
d d i ■
m
The fox marched forth one moon - shin - y night; He
i
■i^-f-
^r- ^ r
'^^==F-
¥
stood up -on his hind - legs, — much a -bout right; 'Some
i
w
meat, some meat I must have this night Be - fore I
I
S
leave this town- e - o, Be -fore I leave this town - e - o.'
Scale: Heptachordal, plagal. Tonal Center: c. Structure: abcb^d (2,2,2,2,2)
=■• ab (4,6) ; b is terminally incremented.
130
The Old Woman and Her Pig
'The Old Woman's Little Pig.' Sung by Mrs. Mattie E. Buckner at Asheville,
Buncombe county, in 1920. There is another recorded version of this tune
io8
NORTH CAROLINA FOLKLORE
sung by H. Eggers, which is identical with this. The only difference is in
the singing. In the latter version the male singer very noticeably closes his
lips when singing Mm-Mm-Mm. The only variations other than that are the
slight rhythmical modifications due to the varying text.
F-147
^
^
^3
S
-s^
There was an old wo - man who had a lit - tie pig,
T~r-.^
mm There was an old wo - man who
i=fc
^
^
had a lit - tie pig, Did - n't eat much for
i
#-
I
^m
was - n't ver - y big, mm - mm - mm.
For melodic relations cf. ***SharpK 11 343, No. 235A ; SHP 8; AFSCh
Scale : Mode III. Tonal Center : d. Structure : abcab (2,2,2,2,2) ^ aba^
(4,2,4). The tonal center is the lowest tone.
132
Bobby Shaftoe
Record destroyed in transit to Library of Congress. Cf. remarks in III
183. The earliest title of the tune is 'Brave Wully Forster.' Cf. Whittaker
20.
The Pretty Pear Tree
'The Pretty Pear Tree.' Sung by Mrs. Erville Ingram Chamberlain. Secured
in 1924 by Mrs. M. M. Moore at Raleigh. For additional texts cf. JFSS in
276, FSEK 6-7; PSL 73-5; FSF 419. The ms score had to be changed to
bring order into the musical structure. As given below, the total melody covers
the first and second stanzas as printed in III 184, No. 133. This then, naturally,
had to be the basis for our analysis of the scale as well as structure.
F-148
i
lu-i-i
3:
^
la
K)
What is out
yon field? There — stands a pret-ty
LULLABIES AND NURSERY RHYMES
109
-^^
?
pear tree, Pret - ty pear tree with leaves. What is on — the
^^^
^
tree?
ve - ry pret - ty limb, Limb on the tree,
^m
s
Tree in the ground. Out in the beau - ti - ful field There
^.
i^
t
stands a pret - ty pear tree, Pret - ty pear tree with leaves.
For melodic relationship cf. **JAFL xi 272, measures 1-4 of chorus only.
Scale: Tetrachordal. Tonal Center: g. Structure: abaacab (3,5,3,3,2,3,5).
Structurally, one of the most unusual melodies. Whether or not three initial
measures (9-1 1) have been omitted (measures 12-14 certainly are identical
with the first phrase) cannot be asserted. Nor can one be certain whether
or not the eighth measure was shortened. In any case, the melody as it was
given in the orginal score defied any really musical structural analysis.
135
There's a Hole in the Bottom of the Sea
'There's a Hole in the Bottom of the Sea.' Sung by G. Smith. No place or
date given.
F-149
fe=
E
hole
the bot - torn of
the
There's a
hole in
the bot - torn of
the
l^^E^ES
W
^
:±
^=5
There's a
hole,
There's
hole,
^^ — r~^
I
There's a
hole
the bot - torn of
the
sea.
no
NORTH CAROLINA FOLKLORE
#=
1-4
-^-
-^-f — ^f-
--f ^ ^ ^
^ ^^ — ^^ — ^ — ^^ — !J — M
^
-^
-• —
-0 0 0 0 —
-j^ K^ ^ ^
- — # ' # ' #" •" s' 4' 1
-i'^ -i'^ -1^ -i*^ p! ^'^ M • 1
F
^ '
—1^
^
-V-^
S ii S S S
4 4 4 ¥
4 4 4 4 ^ 4 \'^ \
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aabc (2,2,2,2).
Taking be as 'concluding song,' we have mm^n (2,2,4) = barform.
136
John Brown Had a Little Injun
'John Brown Had a Little Injun.' Anonymous singer. No place or date
given.
F-150
i
^^
*
John Brown had a lit - tie In - jun, John Brown
^^^
^t=^±±
had
lit - tie In - jun, John Brown had
i=it
S
*=^
lit - tie In - jun, Had a Ut - tie In - jun boy.
For melodic relationship cf. ***Ford 74; APPS 219; JAFL xliv 9.
Scale: Irrational (4,6), plagal. Tonal Center: e-flat. Structure: abac (2,2,2,2)
= aai (4,4).
137
Bingo
No record of Dr. Kemp B. Battle's singing (cf. Ill 187) and no MS score
has been found. A tune can, however, be found in the group of Games in the
present volume (G-46).
139
The Vowels
'The Vowels.' Sung by Miss Jean Holeman at Durham, in July 1922. The
phrase of eight measures is repeated for the remaining four lines given in
III 188, No. 139. Likewise, of course, for the rest of the alphabet.
LULLABIES AND NURSERY RHYMES
I
§^
III
F-isi
^
:i&=i^
W
^=it
B - a ba,
be, B - i bick-a - bi,
bo,
a
^
^
^
5
?
:^=^
bick - a - bi - bo, B - u bu, bick - a - bi - bo - bu.
For melodic relationship cf. *OFS iv 402; FSoA 141.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abc (2,2,4). One
of the instances where the last four measures cannot be subdivided only
to force one more cadence. The text, however, would readily lead to such
procedure.
142
Old Woman All Skin and Bones
'There Was an Old Woman.' Sung by Miss Tina Fussell at Trinity College,
in 1920.
F-152
^
^
i
^
There was an old wo - man all skin and bones Oo — 00 —
^
^
00 — And she was full of pains and groans. Oo — 00 — 00. —
For melodic relationship cf. *FSONE 45, beginning only.
Scale: Tetratonic (4), plagal. Tonal Center: g. Structure: aba^b (2,2,2,2)
= aai (4,4). Every phrase cadences on I.
'There Was an Old Woman All Skin and Bones.' This is a second version
sent by Miss Tina Fussell. Although the informant says, "But this revised
text does not really differ much from A," the melody certainly does.
F-IS3
ifc
^
^
-0—
There was an old wo - man all skin and bones And
^S
5
m
^-
^
she was full of pains- and groans. Oo — 00 — 00. —
112 NORTH CAROLINA FOLKLORE
For melodic relationship cf. *FSONE 45, beginning only.
Scale: Mode III, plagal. Tonal Center: g. Structure: abc (2,2,2). An
unusual six measure phrase.
'Old Skin and Bones.' Sung by Miss Jennie Belvin at Durham, between 1921
and 1922. The beginning reminds of 'Maryland, My Maryland' or the German
'O Tannenbaum.'
F-IS4
i
^^
There was an old wo - man all skin and bones. All
^^
^
skin and bones, all skin and bones
^
There was an old wo - man all skin and bones, All
?F=^^
skin and bones, all skin and bones
1
m
And she went to
the
For melodic relationship cf. **FTM 43, measures 3-6 with our 4-5 ;
*FSONE 45, beginning only.
Scale: Mode II, plagal; Tonal Center: d(m). Structure: abcabc (2,2,2,2,2,2,)
= aa (6,6).
145
Whistling Girls and Crowing Hens
'Grandma Grunts.' Sung by Miss Claire Burleson and Joe Powles at Crossnore,
Avery county, on August 8, 1940. F.C.B. notes: "I think that although
Clarice's home is near Asheville, she learned most of her songs at
Crossnore. She is about fourteen years old." The best reason why boys may
whistle and girls should sing is found by listening to this recording. The
proverb "In unity is strength" should here be changed to "unison."
LULLABIES AND NURSERY RHYMES II3
F-155
:^=^-
^
Grand -ma Grunts said a cur- ious thing: Boys can whis-tle,
^^
i
5fc^
but-
girls must sing. That is what I heard her say,
i
iz
^
W
m
^^EE^
5^
'Twas no long - er than yes - ter - day. Boys can whis - tie
whistle
±
-.p=^ ; ,R j^^^^=H
ti
Girls must- sing tra-
For melodic relationship of. ***MSNC 36.
la
la
la.
Scale: Tetratonic (4). Tonal Center: e-flat. Structure: abababi (2,2,2,2,2,2)
^= aaa^ (4,4,4). The tonal center is the lowest tone.
147
How I Love the Old Black Cat
'How I Love the Old Black Cat.' Sung by Miss Mary Strawbridge at Durham
in 1921.
F-156
m
i
Who so full of fun and glee? Hap - py as a cat
^^
^^
E
can be, Pol - ished sides so nice and fat, How I love the
^
■^
old black cat! Yes, I
do.
Poor — Kit - ty, oh, poor
i
5
i
w
kit - ty, Sit - ting so co - zy — close by the fire,
114
NORTH CAROLINA FOLKLORE
^^
*
Pleas - ant, purr - ing, pret - ty ptiss - y, Frisk - y, full of
:^
^
w
^
fun and fuss - y, Mor - tal full of mouse and rat,
l^ ., ; J- /■ ^^w-^M
^
w^
How I love the old black cat! Yes, I do.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aabcc^aiab
(2,2,1,2,2,2,2,1) = abai (5,4,5). The refrain "Yes I do" of both stanza
and chorus extends each phrase one measure, 9 and 5 respectively.
149
The Cobbler
'Walking Up and Down One Day.' Sung by Carl G. Knox at Durham in
1923. "Rap-a-tap-tap-tap" seems to be the refrain. There are no more stanzas
given.
F-157
^^
:2:
^
^
Walk - ing up and down one day, I peeped in the
i
^
win - dow o - ver the way. Push - ing his nee - die
^
^ — N
i
1^ r
through and through, There sat a cob - bier mak - ing a shoe.
^
^^
m
^
'Rap - a - tap - tap - tap, tick - y - tack - y - too, This is the
^
^^
way to make a shoe. Rap - a - tap - tap - tap,
LULLABIES AND NURSERY RHYMES
"5
S N N fV
^^
^
tick - y - tack - y - too, This is the way to make a
shoe.'
Scale: Tetratonic (4), plagal. Tonal Center: g. Structure: aa^bcaa^bc
(2,2,2,2,2,2,2,2) = aba^b (4,4,4,4).
150
Scotland's Burning
'Scotland's Burning.' Anonymous singer. No date or place given.
F-158
1
W^
w^
Scot-land's bum-ing, Scot-land's bum - ing, Look out, look out,
^m
e
Fire! Fire! Fire! Fire! Pour on wa - ter, pour on wa - ter!
For melodic relationship cf. ***FSONE 283, except the last two meas-
ures.
Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: abed (2,2,2,2).
151
Steam Ship
'Steam Ship.' Sung by Miss Kate S. Russell at Roxboro, Person county,
in July 1923. F.C.B. notes : "Tune-Goodbye, My Lover, Goodbye." For text
of refrain cf. Victor Herbert's 'I Can't Do the Sum.' First eight measures are
almost identical in melodic line with that of 'Polly Wolly Doodle.' The tune
takes in three stanzas of the version given in III 197. There is a definite
elision in measures 19 and 22. Judging from the fairly complicated structure,
this does not seem to be a real folk song.
F-159
^
^
i
j^J J' J ;-j
If
a steam - ship weighed ten - thou - sand tons And
^ L
i
i
—A
sailed five thou - sand miles — Load - ed down with boots and
ii6
NORTH CAROLINA FOLKLORE
i
^Ej
w
=if^
shoes And lots of oth - er things; If the mate was each
i
feet tall And the cap - tain was the same;-
^^
Would you mul - ti - ply or sub-tract To find the
*
m==^
i
V 9 —
cap-tain's name? Hm -m-n, m-m-n, m-m-n. You can
2 9
*
3E
g
think and think and think Till your brain is numb;
5
^=
:|^
I
^S
I don't care what the teach -er says, I can't do that sum.
Scale: Heptachordal, r'agal. Tonal Center: g. Structure: abcdefgg (4,4.4.
4,3,3,2,2).
VI
JINGLES ABOUT ANIMALS
152
Birds Courting
'The White Owl With the White Head.' Sung by C. K. Tillett at Wanchese,
Roanoke Island, on December 29, 1922. Observe the variations the cadence
undergoes in the next two versions. The two almost identical versions given
in JAFL XXII 78 and FMA 8, are to the text of the 'Butcher Boy.'
F-160
I
iO^
^
3
^
In came the owl with his head right white: 'Lone -some
^
— 9—
day
—4 ^
and a
lone - some night. I thought I heard some
— J — — ^ — •-
:jv
pret - ty
1 and s
girl
say, "Court all-
6-1
night and sleep next day." '
^
-A— N-
^
For melodic relationship cf. ***SharpK 11 302, No. 215A ; MSNC 10;
JAFL xxii 78; FMA 8; **SFSEA 232, No. 239, measures 4-6.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aa^bc (2,2,2,2)
^=. mm^n (2,2,4) = miniature barform. Circular tune (VI).
156
Said the Blackbird to the Crow
'Said the Blackbird to the Crow.' Sung by Miss Laura M. Cromartie, at Gar-
land, Sampson county. No date given. There is some melodic relationship
with F-160.
ii8
NORTH CAROLINA FOLKLORE
F-161
^
=t:
:^=3i
-w w r
'I,' said the black - bird
to
the crow, 'What makes
E
?
white folks hate us so?' * 'Cause pull up corn has-
^
g
:|^
been our trade,
er
since ole A - dam was made.'
For melodic relationship cf. ***TNEFL 883-4; BSM 31-32; FSoA 119;
JAFL XXIV 302; FMA 8; **SharpK 11 304, No. 215B; *MSNC 10, only
measures i and 3 ; SFSEA 232, No. 239, measures 4-6.
Scale: Mode II, plagal. Tonal Center: d(m). Structure: aa^bc (2,2,2,2).
'Too-Hoo, Says the Owl.' Sung by Miss Jean Holeman at Durham in 1922.
There is considerable melodic relationship with F-160, as well as F-161. Last
two measures of stanza are very similar to the same in F-81.
F-162
W^2J.
^
'Too - hoo!' says de owl
set - tin'
in de tree,
^' ; ; ;
'What's to come o' you an' me? De creek's all mud-dy an' de
^
^^
1^
pon's aU dry. If 'twan't for de tad -poles we'd all die.'
For melodic relationship cf. ***BBM XXVIII; FMA 8; JFAL xxiv
302; **SharpK 11 304, No. 215A; BSM 32, (Johnson version); FSoA 119;
*FSUSA 18, last three measures like our first two; SFSEA 232, No. 239,
measures 4-6.
Scale: Mode II, plagal. Tonal Center: e(m). Structure: abed (2,2,2,2).
jingles about animals iiq
Chicken in the Bread Tray
'Chicken in the Bread Tray.' Sung to this editor by Dr. I. G. Greer at Chapel
Hill in 1952. Another title is "Granny Will Your Dog Bite?' Cf. I 199.
The text as given in III 205 consists of four lines. The singer uses only
the first two, which he repeats.
F-163
S
P^
Chick - en in the bread tray, Bread tray, bread tray.
i
; / i
Chick - en in the
W ' • IJ^ 25^
bread tray, Scratch -in' out dough.
Scale: Hexatonic (4), plagal. Tonal Center: d. Structure: abac (2,2,2,2)
= aai (4,4).
2nd stanza :
Granny, will your dog bite. Dog bite, dog bite?
Granny, will your dog bite? No, chile, no.
161
Possum Up a 'Simmon Tree
'Possum Up de 'Simmon Tree.' Sung by Miss Eura Mangum at Durham in
1922. For different texts cf. OFS 11 361 and ABFS 238.
F-164
Pos - sum
up
de
'sim - mon tree, Rab - bit
?
de ground. Rab - bit said
to
pos
sum,
g^i
Rab - bit said to pos - sum, 'Throw some 'sira-mons down.'
Scale: Irrational (3,4). plagal. Tonal Center: g. Structure: aba^aic
(2,2,2,2,2).
I20
NORTH CAROLINA FOLKLORE
'Raccoon Up De Tree.' Sung by Miss Jessie L. Peterson from Sampson coun-
ty, at Durham, in 1921 or 1922. The last line, which according to the editor of
vol. Ill "seemed to be misreported," can now be corrected as given on the
recording: " 'N de possum slap de raccoon down."
F-16S
— V Or
7^ j"
1^
^
±=i:
W
Rac-coon up de tree, Pes -sum on de ground. Rac-coonspit
3
I
in the pos-sum's face 'N de pos - sum slop de rac-coon down.
Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: mmn (2,2,4)
= bar form.
'Old Rattler.' Sung by Otis Kuykendall at Asheville, August 4, 1939. The
first stanza of the typewritten text is different from that of the recording, which
is a variation of the second stanza given below. With reference to the latter
cf. ANFS 232, No. 16. For an entirely different song by the same name
cf. ABFS 66. The first three measures are identical with those of F-169,
F-386, and F-387.
F-166
I
^
Old
Ratt - ler treed the oth - er night, He
rH«=
thought he treed an - oth - er, And when he come to
^=^
find it out,
Old
Ratt - ler treed his broth - er.
^
^
^
For melodic relationship cf. **TNFS 170, measures 1-4 only.
Scale: Hexachordal. Tonal Center: f. Structure: aa^bc (2,2,2,2)
ab (4,4). The tonal center is the lowest tone.
JINGLES ABOUT ANIMALS
Stanza i :
My father owned an old coon dog,
He was as blind as he could be,
That dog he treed the other night ;
I believe that dog could see.
Stanza 2 :
Well that dog he treed the other night,
We thought he treed a coon,
But when we come to find it out.
Old Rattler treed the moon.
Stanza 3 :
Raccoon up de 'simmon tree,
'Possum on the ground,
'Possum said, 'You rascal, you,
Shake them 'simmons down.'
Stanza 4:
Raccoon up the 'simmon tree,
'Possum hold the sack;
Raccoon say, 'You rascal, you.
Old Rattler's on our track.'
Stanza 5 :
June bug wears the golden wings,
Lightin' bug the flame,
The bed-bug wears no wings at all.
But he gets there just the same.
Stanza 6 :
Somebody stole my old coon dog,
I wish they'd bring him back.
He ran the old hogs over the fence.
And the little ones through the crack.
162
De Raccoon Am a Cunning Thing
'The Raccoon Is a Cunning Thing.' Sung by J. D. Johnson, Jr., at Garland,
Sampson county, in 191 9. The text and tune are exactly like those of the
A version by Miss E. A. Pool and therefore are not duplicated. The only
difference is the title. In version A it is "Possum," in version C, "Raccoon."
The last two measures are identical with those of F-164.
F-167
m
The
cun - ning thing.
He
w
walk - eth in
the
dark, And nev - er thinks to
122
NORTH CAROLINA FOLKLORE
i
1
curl his tail Till he hears old Ran - ger bark.
Scale: Irrational (3,4), plagal. Tonal Center: c. Structure: abed (2,2,2,2).
163
The Raccoon Has a Bushy Tail
'De Raccoon Has a Bushy Tail.' Sung by James A. Lyon, Jr., at Trinity Col-
lege on December 5, 1919. Cf. second stanza of 'Old Napper/ FTM 37.
For additional text cf. NSOB 309.
F-168
1
rac - coon
has
bush
tail, De
^^
pos - sum
tail
bare,
De tab - bit
has
-- N-
i
tail at all, Ah lit - tie bunch ob hair.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abed (2,2,2,2).
Every phrase cadences on I.
'Raccoon Wears a Bushy Tail.' Sung by Miss Jewell Robbins at Pekin,
Montgomery county, in July 1922. Another version by Miss Minnie Lee is
nielodically identical with the present version, except that the latter has no
chorus. Not including the second measure, the first four measures melodically
are the same as F-165, F-166, and F-387.
F-169
^
Rac - coon wears a bush - y tail, Pos - sum's tail is bare;
^m
^^=^=^
Rab - bit he comes skip-ping a - long, Got no tail to spare.
JINGLES ABOUT ANIMALS
123
Scale- Irrational (2.3), plagal. Tonal Center: g. Structure: abed (2,2,2,2) ;
the initial measures of b and c are practically identical. The tonal center is
the highest tone.
167
Old Molly Hare (Mr. Rabbit)
B
'Ole Molly Hare.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
in 1921. In the recording, the textual beginning of the chorus is slightly altered
from that in III 212.
F-170
h J J' ^
b^
^
J J
'Ole Mol - ly Hare, what you do - in' there?' 'Run - nin'
^^-^^-^J
w
s
through the cot
ton patch hard as I
N
can tear.'
'Ole Mol - ly Hare, what you do - in' there?' 'Run - nin'
*
£
:^^— r^
i
^3:
^
3
through the cot - ton patch hard as I can tear.'
^^-^^-^^
w
3
Shack a lack a
shack a lack a shack a lack a shay.
^^
^
^
m
Shack a lack a shack a lack a shack a lack a shay.
For melodic relationship cf. **Ford 30; ABFS 283-4, first four measures
only; *AFSCh 99.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aaibaa2baaib
(1,1,2,1,1,2,1,1,2) = aa^a (4.4.4) •
'Ole Molly Hare.' Sung by Miss Louise Lucas. Ill 212 says "With the
tune," but the tune is now lost.
124
NORTH CAROLINA FOLKLORE
172
The Weasel and the Rat
'Weasel and the Rat.' Sung by Mrs. W. L. Pridgen of Durham on July
25, 1923. Cf. 'It Ain't Gonna Rain No Mo.' The six measures beginning with
"Hold the line" occur between the first and second stanzas. Whether they
are supposed to be a chorus is not clear. The words seem to be correct as
to sound ; since, however, there is more than the ordinary surface noise of the
recording to contend with, it is possible that the actual words sung were
different. Of the second stanza only a part could be made out with certainty.
F-171
^
i. i'lJ' ^' i
^_
^
Wea - sel and the rat, Mos - qui - to and the cat,
E
3
Chick -en and the bum- ble bee; The old ba - boon,
?^^
tc
^
The fuz - zy lit - tie coon; They all went wild but me.
^iEEEi
3
Hold the line.
hold the line, Hold the line,
i
:5t
hold the hne, __----_-
For melodic relationship cf. ***Ford 66, stanza only.
Scale: Hexatonic (6), plagal. Tonal Center: c. Structure: aaibaa2cddie
(1,1,2,1,1,2,2,2,2) = mm^n (4,4,6) = barform.
Second Stanza :
I went to see my love one night,
but to my surprise
in her eyes.
173
Mole in the Ground
'Mole in the Ground.' Sung by Fred Moody, Jonathan's Creek, Haywood
county, in 1921. The singer was a student at Rutherford College in 1902. It
seems quite clear that the stresses extending several measures beyond their
JINGLES ABOUT ANIMALS
125
normal length are clue more to the peculiar temperament of the singer rather than
to structural characteristics.
F-172
1 N
^^
m^^^^m
-^
wish I
mok
in the ground; I
i
i
3E
^-
wish I was a mole in the ground; If I's
^
mole in the ground I-
root that moun-tain down; I
_ Stanza 2
S
^
^
wish I was a mole- in the ground
:5
^^^
E
^ ^
=i^
i
-i^
n ^
N
9
u
A t m ^ 1 r
:-v s
/
<>
4- r r
r * J
J
•
; ■ N IV
fr\ J.
i v
'j r •
* m N i ' ^ N
M<) <^
1
4- 1^ 1
^ L-
• -'^ J ,1^ iJ
tJ
- " ^. ^-
m
stanza 3
^
-^^
^tt
i
-V— 1>^
:±=^
^^
§
^
For melodic relationship cf. **ABFS 152, basically the same melody, al-
though with some changes; *FSSM 10.
126
NORTH CAROLINA FOLKLORE
Scale: Mode III. Tonal Center: c. Structure: abcai (2,2,2,2). The tonal
center is the lowest tone.
173 (i)
'Mole in the Ground.' Sung by Miss Pearle Webb, Pineola, Avery county,
August 24, 1939.
F-173
i
I wish I was a mole in the ground; Yes,
-^ N-
s
W
■^
wish
a mole in the ground; — If I's
*:
^
*
^
i
mole in the ground I'd root that moun - tain down; Yes, I
I
5fc
W
wish
5-7
mole
the ground.
i^m
-A fV-
:iJ=it
^
^ J ' ^
^
:J==it
^^
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2); there
is some relationship between b and a.
175
The Old Grey Mare
'The Old Grey Mare.' Sung by Bascom Lamar Lunsford at Turkey Creek,
Buncombe county in 1921. In contrast to the version given in III 217 our
version has a chorus. In the version by the same singer in 31 FSSM 36,
our stanza of eight measures is repeated and the chorus shortened by four
measures. Note that each phrase of four measures comes to almost the same
cadence. For other textual versions cf. JAFL xxiv 311 and xxvi 123, and
ISB 70.
F-174
p .) 1 \ 1 rn
M 1 1 — i
1 1 1 1
J zi ^ - J
J 1 1
III
r ^ 0 •
^
^
^
0
^
^
^
\s) A
•
•
^
^
tJ
Once I had an old grey mare, Once I had an
JINGLES ABOUT ANIMALS
127
d=r±
m
old grey mare, Once I had an old grey mare, And I
^=r^
-s^
sad - died her and rode her there. Not gon - na work fo' a
^^^-^-^
i
nick - el
mo ,
Not-
gon - na work
fo'
-^
w
— 5H-
nick - el no mo', Not gon - na work fo' a nick - el
I
1
^
5
no mo', Not — gon - na work fo' a
For melodic relationship cf. ***FSSM 36.
nick - el no
Scale: Mode III, plagal. Tonal Center: g. Structure: abab^cdcd (2,2,2,
2,2,2,2,2) = aa^bb (4,4,4,4). Circular tune (V).
178
The Old Sow
'The Old Sow.' Sung by H. C. Martin at Blowing Rock, Watauga county,
in 1922. At the syllable "hee" (the flag without a head indicating indefinite
pitch), the singer imitates the grunting of a pig.
F-175
^
4zit
~^
And the old sow went to the barn to pig, (whistle)
Hi hee hi hee hi hee hi hee barn to pig, And the
i
^
-^ —
old sow went to the barn to
Pigr
But nev - er
128
NORTH CAROLINA FOLKLORE
^=^
cry di cry do cry da For Old Su - san - na is
^
-^— ^
-»-- ^
15=*:
fW^-^
K— t^'
-#^-^
^
■^
^
It
-ir
pret - ty wo - man a
i
bam to pig, And the old sow went to the barn to pig. —
Scale: Pentachordal, plagal. Tonal Center: f. Structure: aba^cb^a^ (2,3,3,
4.3,3)- The tonal center is the highest tone.
180
The Animal Fair
'The Animal Fair.' Sung by Miss Foy in 1920, no place given. Like the
version given in ESB 125, so in our version the melodic structure demands
two stanzas of those given in III 219. Our melody does not provide for the
repetition of "the monk." [The quotation of RaW 79 as given in III 219
should read RaW 69 for the second edition. Cf. text.]
F-176
^^
*S
±:
s
-75^-
^^27"
went to the an - i - mal fair; The birds and the
^^^^
^
E
beasts were there, The big rac - coon by the light of the
iC=t5=
iEE^
^
moon Was comb-ing his au-burn hair. The mon-key he got
1^=4:
^ — N-
E
* m
-TSt
drunk, And fell on the el - e-phant's trunk. The el - e-phant
■4-^^J-k-^^^
I
%^
E
sneezed and fell on his knees And that was the end of the monk.
For melodic relationship cf. ***ASb 348-9, except the ending.
JINGLES ABOUT ANIMALS
129
Scale: Irrational (2,4), plagal. Tonal Center: d. Structure: aabaaaba^
(2,2,2,2,2,2,2,2). Reprisenbar plus Reprisenbar.
183
Lulu
'Shout, Little Lula.' Sung by Bascom Lamar Lunsford at Turkey Creek,
Buncombe county, in 1921. Another version has only negligible differences.
According to MSNC, notes, No. 8, this tune (not necessarily our version)
was also sung to the words of 'Banjo Sam.'
F-177
h
i J_
D 2 d
d m d S-
i
4. Shout, lit - tie Lu - lu. Shout your best, The old, old gran-'maw's
t . ,
w
s
m
^^m
gone to rest. Shout, lit - tie Lu - lu. Shout, shout.
f^J J' j" J' t
^
Stanza 3
1-3
Another version
3-4
^
For melodic relationship cf. **MSNC 25-7.
Scale: Tetratonic (4). Tonal Center: d. Structure: abc (2,2,2). The tonal
center is the lowest tone.
2nd Stanza:
Poor Little Lulu,
She went ofif to bed ;
She never got to hear
What her gran'maw said.
Chorus : Shout, Little Lulu, etc.
3rd Stanza :
How many
Will it take
To make them Lulu's
Belly ache ?
130
NORTH CAROLINA FOLKLORE
Way Down Yonder in Pasquotank
'Pasquotank,' Sung by the Rev. L. D. Hayman at Elizabeth City, Pasquotank
county, in 1913. The beginning phrase of our stanza is the same as that of
the chorus of F-404. Notice the rhythmical sameness of the first six measures.
F-178
Efe
m
Way down yon - der in Fas - quo - tank, Where the
g
:t:
bull frogs jump from bank to bank, They jump so high they
^
I
break their shank. The old grey goose went 'van - ke - ty yank.'
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abed (2,2,2,2).
192
Two Little Fleas
'Two Fleas.' Sung by Mrs. W. L. Pridgen at Durham, July 25, 1923. This
has a suspicious likeness to some minstrel songs.
F-179
Two lit - tie fleas sat on
^
:f^
rock. One to the oth - er
^
-r~ir-t
said:-
Tve had no place to hang my hat Since
J2=u
^
^
my poor dog's been dead. Fve searched this whole world
^
^^^
ver; No long - er shall I roam.- The first dog
i^
^
S
that shall show him - self Shall be my Home, Sweet Home.'
Scale: Mode TIT, plagal. Tonal Center: a-flat. Structure: aa^bc (4.4.4,4)-
VII
WORK SONGS
194
Old Bob Ridley
B
'Possum up a 'Simmon Tree.' Sung by Miss L. M. Cromartie of Ivanhoe,
Bladen county. No date given. This is a cornshucking song. This version
takes in both stanzas of the version 194B as given in III 230 as one unit and
adds to this the chorus of the C version. The tune of the chorus is that of the
second stanza with the necessary adjustments demanded by the text.
F-180
i
^
r^
Pes - sum sit - tin' on a sim - mon tree Looked so cun - ning
^
^?^
^
down at me. I picked up a stick all on the sly An'
ffi
^
tJ
hit him zip! right in the eye.
Old Bob Rid - ley,
=3:
ho ho ho
Old Bob Rid - ley, ho ho ho
^^
^
^
Old Bob Rid - ley, ho ho ho What made you fool dat
^^
pos - sum so? Boys, come a - long and shuck dat com,
NORTH CAROLINA FOLKLORE
^
Boys come a - long to the rat - tie of the horn;
And
^
S
sing
and shuck 'till the com - ing of the mom,
:^
And
den we'll
hab
hoi
day.
Scale: Heptachordal. Tonal Center: c. Structure: (abac) (dd^de) (dd^dei)
(2,2,2,2,2,2,2,2,2,2,2,2). The over-all design is nmm (8,8,8), inverted bar.
The tonal center is the lowest tone.
'Corn Shucking Song.' Contributed by M. Bryan Grimes of Boone, Watauga
county, in 1921 or 1931. Another title is 'Old Bob Ridley.' In all main points
but one, this melody is identical with that of F-192. When F.C.B. noted
that "the Ground Hog [F-192] air is the same as 'Old Bob Ridley,' " he did not
mind such a small matter as a different cadence in the first phrase. Our
refrain practically duplicates the stanza.
F-181
:f^
=J^
— * r
Old Bob Rid - ley, come blow your horn. Sheep in the pas - tore,
—N-
m
^
^
fj
cow in the barn, Old Bob Rid - ley, come blow your horn,
Sheep in the pas - ture, hogs in the corn. Boys, come a -
ft \ \ » » » m s *
1-^ 1-^ PS ^ ' y 5 > I, u^ <
^ ^ 1 ' 1 • 1 ^ ^ ^ k/
long
and shuck that corn, Boys, come a - long to the
^
rat - tie
of
the horn; Shuck and sing 'till the
WORK SONGS
133
i:^
— JS N N N — • 1
-0^ -0 -0- -0-
com - ing of the mom', Then we'll have a hoi - i
I
day.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abacabac (2,2,2,
2,2,2,2,2) = aa^aa^ (4,4,4,4).
'Old Bob Ridley.' Sung by H. C. Martin, at Blowing Rock, Watauga coun-
ty. No date given.
F-182
±.
m
^2:
A pos - sum sat on
sim - mon tree A - look - ing
i^
cun - ning down on me. I picked up a stick all
I:
the sly And hit him zip! right in the eye.
±
^
Old Bob Rid -ley, o-oh! o-oh! Old Bob Rid - ley, oh,— oh.
i
^
±=±
¥
Old Bob Rid -ley, oh, oh! What made you treat dat pos -sum so?
*:
^^
Scale: Mode III, plagal. Tonal Center: g. Structure abacaMaSc (2,2,2,
2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar. The first half of b is related
to a. Circular tune (V).
' 'Possum Tree.' Sung by Miss Clarice Burleson and Joe Powles at Crossnore,
Avery county, August 8, 1940.
134
NORTH CAROLINA FOLKLORE
F-183
i^
i
^
WSi
^
My dog did bark
and
went
to
^^
0~
per
pes - sum up
sim - mon tree. I picked up
^^
-N
' i j:-N -'
rock all on
sly And tuk that pes - sum ker •
:^
W
^
~^ "^ *
in the eye. Al - though you know it
zip
-:—l-l
^
E
s
noth - ing to me, I'll talk a - bout things I don't
^
^
'^ -J- ^
like — to see; AI - though you know that I don't like
^^^
^
"ij: ZfT
to see A pos - sum a - climb - ing right down
at
For melodic relationship of. **Ford 43, 'Irish Washerwoman,' our stanza
and the first part of the latter. Also G-19.
Scale : Heptachordal. Tonal Center : c. Structure : abacdcdc (2,2,2,2,2,2,2,2)
= aa^bb (4,4,4,4). The latter half of b is related to a^. The tonal center is
the lowest tone.
'Ground Hog.' The tune supplied by Alex Tugman of Todd, Ashe county,
is identical with that furnished by J.T.C. Wright (F-192).
WORK SONGS
135
196
Sheep Shell Corn by the Rattle of His Horn
'Corn- Shucking Song : Blow, Horn, Blow.' Sung by Miss Laura M. Cromartie,
Ivanhoe, Sampson county, in 1922 or 1923. One MS score says the refrain is to
be sung as a "Chorus Finale," another copy says as "Grand Finale." The
rhythm of the initial phrase recalls 'Twelve Days of Christmas.' For a very
good description of such a Plantation Festival Song cf. FSFS 40.
F-184
(Leader)
*:
^
i
Sheep shell corn by the rat - tie of his horn, Blow, horn,
^
=N=^
:|^
^
w
^#— ^
blow. Send to the mill by the whip - poor - will, Blow, horn,
(AU)
^
^
l^
blow. O! blow your horn, blow horn, blow! O! blow your horn,
Refrain : to be sung at the very end of the song.
^^
i
blow horn, blow! Hunt for the nub-bins, bang a rang!
-0 « •—
^
^
Hunt for the nub - bins, bang a rang!
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: abab^cbcbS
(2,2,2,2,2,2,2,2) = aa^bb^ (4,4,4,4) ; final ending: cc^ (2,4). This refrain, to be
sung only at the very end of the song, consists of two phrases of which the
second is terminally incremented.
'Sheep Shell Corn.' Reported in III 234 as anonymous, but with tune. It
was sung by Miss Elizabeth Janet Black. The melody is identical with that
of the previous version (F-184).
203
The Old Turkey Hen
'The Old Turkey Hen : Cornshucking Hollow.' Sung by Miss Jewell Robbins,
Pekin, Montgomery county, in 1921 or 1922.
136
NORTH CAROLINA FOLKLORE
n
F-18S
V V "^
1
^^
y Z m .
« m '
1
N
Ci"^
TT 0 •
■^ J
1 ^ . J •
W \
Sev
n
- eu years
a - boil
- ing Ho
- ma - ha - la - way.
V * •
_
N
1
/ 1 r 1* • J
1
N
0
fr^ ' 1 •
1 \ I m •
Vk; 1 ^1
c'
'
^^
-♦-•
-#-
Sev - en years a - bak - ing, Ho - ma - ha - la - way.
Scale: Mode III. Tonal Center: c. Structure: aba^bi (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
204
Run, Sallie, My Gal
'Run, Sallie, My Gal.' Sung by Miss Jewell Robbins, at Durham in 1921.
Another title given is 'Bull in the Meadow.' Catalogue says : "also Bagato :
Cornshucking Hollow." The upward slurs marked "^ are noteworthy.
F-186
e
Run, Sal - lie, my
Bu
lo
S
3
m
Run, Sal - lie, my gal, Bu - - ga - lo.
Scale : Mode III, plagal. Tonal Center : a. Structure : ab (4,4) ; the beginning
of b is the same as that of a.
209
Sally, Molly, Polly
'Sally, Molly, Polly : Pig Call.' Sung by Mrs. Beulah Walton, Morrisville,
Wake county, July 25, 1923. F.C.B. notes : "Described as 'Negro Yodel.' "
Another title is 'Hog Calling Chant.'
F-187
w
^
jfct
3
3
^=J:
Sal - ly, Mol - ly, Pol - ly,— O-
Come on — git cawn!
m
3
Lit - tie in the has -ket, more in the crib, — Come on — git cawn!
Scale: Irrational (2,7). Tonal Center: d(m). Structure: abcb (2,2,2,2).
The tonal center is the lowest tone.
WORK SONGS
137
212
Pickin' out Cotton
'Pickin' Out Cotton.' Anonymous singer. No place or date given, ms score
is in Dr. Brown's hand.
F-188
^
J I ^' ; J
^=^=
:^
^
^
^
'Hel - lo, my lit - tie girl, which a - way, which a - way,
i
*
i
W
Which a - way, which a - way, which a - way, which a - way?'
^
*
^
^
^
'Mam - my
#^^
sent
f^
me to pick - in' out cot - ton; Dad - dy
"^"^ ' ^^ ^ ^ -A — ^ — ^-^=1^
t^
said the seed's all rot - ten.' 'How can you tell that the seed's
^^^^^
^^^
all rot - ten. How can you tell that the seed's all rot-ten?'
Repeat for remainder of stanza ; at beginning of second stanza, "Hello, my little
girl," go back to beginning.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abb^bbi (4,2,2,2,2)
= nmm (4,4,4) =: inverted barform. Circular tune (V).
'Pickin' Out Cotton.' Obtained from A. J. Burrus, according to III 244,
"With the tune." There is, however, only one ms score for this song, marked
"anonymous." No record or ms score by A. J. Burrus can be found, although
the catalogue records a ms score by him, but does not mention an anonymous
version. One could thus assume that the ms score marked anonymous is that
by A. J. Burrus. At any rate the text of 212B can be sung to the tune of
the A version (F-188).
213
The Humble Farmer
'The Humble Farmer.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 1921 or 1922. Catalogue notes: "Parody." The tune for the
chorus is the same as for the stanza.
138
NORTH CAROLINA FOLKLORE
F-l{
'±M
^S:
t
I saw an hum-ble farm-er; His back was bend-ing low,
^^fe^P^
BE
A - pick - ing out the cot - ton A - long the cot - ton row.
m
d=±
^=^-
His shirt was old and rag - ged, His pants were full of holes;
-•-=-
'Twas caused by pick - ing cot - ton From out the cot - ton bolls.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abcdabcd
(2,2,2,2,2,2,2,2) = abab (4,4,4,4).
216
The Man Who Wouldn't Hoe His Corn
'The Man Who Wouldn't Hoe His Corn.' Sung by Pat Frye, recorded at
Appalachian State Teachers College, Boone, Watauga county, in the summer
of 1945. Also known as 'The Lazy Man' and 'Harm Link.' Very close
melodic relationship with F-160 and F-162.
F-190
m
^^^^^
:;J=i:
2:
^=i--
There was a man lived on Beav - er's Creek, He did - n't
-9-b 1
n — ^ — ^ — ^
rzp \ \ ^ ,
^ h 1- 1 1 K S
^
"
n 1
f(\\ P t7 1 ,1^ r
m
^
^
J 1
\s\) J
•
«' A
•
^ 1
i) *
make corn for to sell nor keep; And for the rea - son
:!?:
d:
m
^1^
I can't tell, For this young man was al - ways well.
I (all other stanzas) g 7_8
1? — — r
WORK SONGS
139
P^
^i
For melodic relationship cf. **Texas FS 220; TAFL 874-5; MSNC
10 (especially if signature of three flats is ignored) ; FSUSA 230, general
melodic line.
Scale: Irrational (2,6), plagal. Tonal Center: e-flat. Structure: abed
(2,2,2,2).
219
The Wild Ashe Deer
'The Wild Ashe Deer.' Sung by Mrs. N. T. Byers, Zionville, Watauga
county, 1922. The MS score was changed from 2/4 to 2/2. Not, strictly speak-
ing a folksong.
F-191
^
-^— ^
:t=tz:
way and a - way we're bound o'er the moun - tain,
m
m
ver the moun - tain, o - ver the moun - tain,
^
^
f^^^
O
ver the val - ley, the hill, and the foim - tain, a -
m
w
way to the chase, a - way, a - way! We heed not the
:i=it
-* w w • ^ • 9 —
tem - pest, the wild winds of dan - ger, but joy - ous - ly shout •
^
^
ing a - way goes the ran - ger, Joy - ous - ly shout - ing a -
i
5
^^^^
way goes the ran - ger, a - way to the chase, a - way, a - way!
140
NORTH CAROLINA FOLKLORE
Scale: Hexachordal. Tonal Center: c. Structure: abacbbabi (2,2,2,2,2,2,2,2)
=^ aa^bai (4,4,4,4) = Reprisenbar.
221
The Ground Hog
'Ground Hog.' Sung by J. T. C. Wright at Boone, Watauga county, in 1936.
The text as derived from the recording differs slightly from that given in
in 254. This tune, with the exception of the first cadence, is very closely
related to the 'Corn Shucking Song' (F-181) by the same singer. The latter
song, however, has a chorus. The melodic line of the last two measures coin-
cides with that of F-196. Of all the other versions, this is the only one which
has a skip of a seventh from the second to the third measure; the others have
a skip of an octave.
F-192
m
^=F
m
J' J'li I J
Shoul-dered up my gan and I whis - tied for my dog,
it^
^
*:
iz
Shoul-dered up my gun and I whis -tied for my dog; Go - in'
§
t^
^
:^
=*
up the hoi - ler for to catch a ground hog, Law, man, law!
; J J ;
E^E^
w
For melodic relationship cf. *FSSH 388, last two measures only.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abac (2,2,2,2)
aai (4,4).
B(I)
'Ground Hog.' Anonymous singer. No place or date given. There is con-
siderable relationship with F-196.
WORK SONGS
141
F-193
shoul-dered up my gun and I
whis - tied
^
*
for my dog, I shoul-dered up my gun
and
i
:g==;^
whis - tied for my dog; I'm go - in' to the moun-tains
^m
N PS PV
for to catch a ground-hog. And a hal - loo, Lord - y me.
For melodic relationship cf. **SharpK 11 340, No. 231; AMS 92; JAFL
XLV 154; FSSH 388; FSUSA 26.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abcc^ (2,2,2,2);
there is some relationship between c and a.
'The Groun' Hog.' Sung by Miss Vivian Blackstock. No place or date given.
The first four measures are identical with those of F-195.
F-194
-f-^r-
— ■.
N
K
K
»\
/, 4
1
->;
N
i
es
-S
1
^)-4-
— •
• —
— •
" t
J
•
— •
— — 1
tJ
0
Whet
up your knives.
call
up your dogs,
-y — i — -' — -' '
— \ — 1
, N—
— ^ — ^ — ^ — 1
■/s ^
— V —
i»
— H
J
— m- •-^ _ — — -
Q:^ tA—
— 5^
— ^
V
^
-V-
*
_? = Z ^
«J
Go to the woods, catch a ground-hog. Meat's good to eat.
hide's good to wear. Rang tang a fod - a - hnk
day!
For melodic relationship cf. ***SharpK 11 340, No. 231, melodic line;
**JAFL XLV 154; AMS 92; FSSH 388; FSUSA 26 (especially if key signa-
ture is omitted).
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: aaa^b (2,2,2,2).
142
NORTH CAROLINA FOLKLORE
'Groun' Hog.' Sung by Miss Bonnie Wiseman, Upper Hinson's Creek, August
26, 1936. Considerable melodic relationship with F-194 and F-196.
F-I9S
l#
^
:^
iF4=y=
i
^
Run your sow with a great long pole, Run your sow with a
i
r=F^
m
:^
great long pole, Oust this groun'-hog out a his hole. Groun'-hog.-
For melodic relationship cf. **SharpK 11 340, No. 231; AMS 92; FSSH
388; FSUSA 26; *BMFSB 38.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: mmn (2,2,4)
= barform.
'Ground Hog.' Sung by Obadiah Johnson, Crossnore, Avery county, August
8, 1940. There is considerable melodic relationship with F-194, F-I95. and
less with F-193.
F-196
s*
m
m
*
^
shoul-dered up my gvin
and
whis - tied
J ; ;
5
^
-^ :i- *-
my dog, I shoul-dered up my gun and I
to
E^
^
whis - tied to my dog; Ise gwine up the moun-tain for to
I
S
W
J ^ ^
0^ ^ ^
catch a ground-hog. Rang tang a fod - a - link a day. —
For melodic relationship cf. **SharpK 11 340, No. 231 ; AMS 92 ; FSSH
388.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aabc (2,2,2,2) ;
taking be as epode, we have mm^n (2,2,4) ^= barform.
WORK SONGS
143
222
I'll Fire Dis Trip
'Boating Song.' Sung by Mrs. J. K. Corbett, Ivanhoe, Sampson county,
no date given. For additional texts cf. SAS 17; RG 56; JAFL lix no,
and EFC 27.
F-197
I'U fire dis trip an' I'll fire no mo' Fire down be - low!
=1^
^^^
I'll fire dis trip and I'll fire no mo' Fire down be - low!
Scale: Irrational (3,4), plagal. Tonal Center: g. Structure: abab (2,2,2,2)
= aa (4,4).
229
Alphabet of the Ship
'Alphabet of the Ship.' Sung by C. K. Tillett, Wanchese, Roanoke Island,
December 29, 1922. For a different and somewhat clearer text cf. FSF
57-8.
the an - chor, and that we all know, B
1=
-#-r
^
ti'
the bow -sprit hung o - ver the bow, C
^
:ilt=>^=^
-^-^—J
is the cap - sin we
N
^
m
of - ten go
round. And
D
the deck where the
^
s
m
sail - ors are found. So mer - ry,
mer - ry,
mer - ry
~9
we,
— »~
No
:=^
t:
^
i
mor
tal on earth like a
144
NORTH C A R 0 L I N A FO L K LOR E
='^=1^
m
¥ J' i' J' i J: 1^^
sail - or at sea. I dear - ie I dear - ie I dear - ie I
I
^5£
:S=it
^^^
fc=Tt
down, Give a sail - or his grog and then noth - ing goes wrong.
For melodic relationship cf. *FSONE 236-7, measure 4 only.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abcda^bcidi
(2,2,2,2,2,2,2,2) — abaifai (4,4,4,4). Musically, the third measure from the
end of the stanza as well as the chorus cannot be separated as the text would
indicate. There is, in any case, again an elision evident. This proves that,
as in numerous other songs of the folk, text and music do not always coincide
structurally.
230
Whip Jamboree
'Whip Jamboree.' Sung by Rev. L. D. Hayman, Elizabeth City, Pasquotank
county, sometimes between 1913 and 1919. For additional text cf. EFC 10.
F-199
Oh, the cap - tain came on deck A - scratch-ing of his
« p • f-
-<s> <s>-
i
head, Says, 'Hel - lo, my jol - ly boys, The yal - ler boat's a •
9
i
m
£
^
-(5>-
I
-&-
--^
-^ ^ _
head.' Whip jam - bree, whip jam - bree. Get up, old hoss. —
Stanza 2
:^
t:
^
-»^ — •-
» 0
S
etc.
0 0 0 0 ^.
ii
m
Whip
Scale: Pentachordal, plagal. Tonal Center: g. Structure: aa^bcc^d (2,2,4,
2,2,2) = mmnoop = bar plus bar.
WORK SONGS
145
231
I Have a Father in My Native Land
'A Sailor's Chanty.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 1921 or 1922.
F-200
±
^
^.
3
4--»-
I have
^-^-
^
fa - ther
-9—
in my
:^=A
na - tive land,
i
;^
"^ J^ J', i 1^
^
Oh, he's been look - ing for me
to - night, night, night,
Stanza 2
^^^
J ^' J
4-i^^^
4^
Oh, he's look - ing for me to - night. He may look.
^
^-^
:^
W
— * V '
he may look, with his with - 'ring wa - fry eyes. And it's
±1
^
— ^-^i Pt-L — I 0
• -#- -0-
oh, he may look to the hot - torn of the sea, sea, sea.
i
i
/ /■ i '^
Oh, he may look to the bot - tom of the sea.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: nmrn^ (4,3,3)
= inverted bar.
233
The Heathen Chinese
'Heathen Chinese.' Sung by O. L. Coffey, Shull's Mills, Watauga county,
1936. This seems to be much more in the nature of a music-hall product than
that of the folk.
F-201
l4
^^=4=^
-f — \ — ^ — p^ — y
I've
sad pit - i
ful sto - ry
to
146
NORTH CAROLINA FOLKLORE
^u 1 / 1 1- 1 J. ;■! J ' 1 1 1 1 J M
^^ — J — J — J — '- — i — i — ' — J — '-^ — ^ J
tell you, Al - though it's a com-mon one too; A
, 1
^^J=N^=^
sto - ry of sor - row, a sto - ry of hun - ger. Be -
:i=J:
-^
cause we have no work to do.-
In the coun - try as
^ r i. ;4^4=^
well as the cit
There are thou-sands who'd
i
^i
^
A N-
like a square meal,-
But a - las! there is no work for the
i
=t
3^
white man to do; They're hir - ing the Heath-en Chin - ese.
-?5^
Oh, a thing that you'll find in the kitch-en,-
In the
^UAAA
laun - dry a sing - ing Hob Lee;-
On the rail - roads, the
^^3i
4 — I — I
^
5=F
^B
round-house, the ranch-es, They're hir - ing the Heath-en Chin-ese.
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure: (aa^bc)
(biaib^c) (biaib2c) (4,4,4,4) (4,4,4,4) (4,4,4,4) = abcbcb (8,8,8,8,8,8) =:
nmm (16,16,16) = inverted barform.
234
Working on the Railroad
'I've Been Working on the Railroad.' Anonymous singer. No place or date
given. The structure of the music requires two stanzas of the printed text
WORK SONGS
147
given in III 262. The third stanza given there serves as chorus in our version,
but with altered text. Other titles : 'Levee Song* and 'I Been Workin,' Work-
in' on de Levee.'
F-202
^^^^=F
— : — ^ — : — K
^-^
5f--#—
h
— 0
-- 1— =
— # — -^ —
i'
a'
— «
I've been work - in' on de rail - road All de live - long
i
day, I've been work - in' on the rail - road Jus' to
m
^
^f=¥ • '
pass de time a - way. Don't you hear de whis - tie
i
'S^^
i
m
^^
blow - in'? Rise up so ear - ly in de morn. Don't you
i
r=tc
^
zi^r^iv
hear de Cap - tain shout - in'? Di
Faster
na, blow your horn!
J^ j^ J' J' ^ I P
^=^
Di - na won't you blow, Di - na won't you blow, Di - na
^^
-;■ J I J
I^
won't you blow your horn?-
Di - na won't you blow.
i
I
^^S
^^^ ; J ^
Di - na won't you blow, Di - na won't you blow your horn?
For melodic relationship cf. ***RAS 144, stanza only, chorus is entirely
different.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aa^bcdd (4,4,4,4,4,4)
'Working On the Railroad.' Sung by Walter F. Miller, Trinity College, in
1919.
148
NORTH CAROLINA FOLKLORE
F-203
^
Work - ing on the rail - road at for - ty cents a day,
^
-:^-
If you don't work your time out, you don't get your pay.
m
3
Work - ing on the rail - road at for - ty cents
day;
;I3
I
You can make more mon
ey
a - work - ing in the hay.
Scale: Trichordal. Tonal Center: f. Structure: aa (4,4). Every phrase
cadences on I. The tonal center is the lowest tone.
236
Reuben's Train
'Reuben's Train.' Sung by Arthur Moore, Lenoir, Caldwell county, in 1921
or 1922. For additional text cf. ASb 456.
F-204
^^=4:
-N-
S
4-^-1^-^
You ought to be in town When Reu-ben's train went down;
i
IE
"25*
You could hear the whis - tie blow a hun-dred mUes.
A hun - dred miles, a hun - dred miles, A hun - dred miles from
3
my home. You could hear the whis - tin blow a hun-dred miles.
For melodic relationship cf. *FSUSA 256, our first two and the first
four measures of the second stanza there, general melodic outline.
WORK SONGS
Scale: Tetratonic (2). Tonal Center: d. Structure: aa^ (44)-
phrase cadences on I. The tonal center is the lowest tone.
149
Every
'Reuben.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe county,
in 1921. The singer told this editor that "Reuben was proof that 'Blues'
existed long time before W. T. Handy had reduced the Blues to the printed
page and repopularizcd it among the people who know art music." In his ac-
companiment on the banjo, the player constantly alternates between major
and minor. Similarly, where there was a g-natural in the first stanza, the
second has a g-sharp and vice versa. F.C.B. notes : "Cf. Reuben's Train ; The
Midnight Deer."
F-20S
s:J=J=t
^
ft
1
The
wind is from the East and the snow is from —
jE^i^
a^
±zA
the North, And I'm five hun-dred miles- from — my home.
Stanza 2
ig
m
^
s
^
She's a - stand-ing in that door, She can hear that whis-tle
i
^
:^
a:
blow, She can hear that whis - tie blow a hun - dred miles.
Scale: Tetratonic (2). Tonal Center: e(m). Structure: aa^ba^ (2,2,2,2) =
Reprisenbar. The tonal center is the lowest tone.
2nd stanza :
She's a-standing in the door
She can hear that whistle blow
She can hear that whistle blow
A hundred miles.
3rd stanza :
If this train side-tracks
I'll ride that freight train back
And I'll never leave my home
Anymore.
'Reuben's Train.' (Train No. 45). Sung by Mrs. Manassa Wiseman, Upper
Hinson's Creek, on August 26, 1939, with the banjo accompaniment by Myron
ISO
NORTH CAROLINA FOLKLORE
Wiseman and Edgar Hicks. The whole group of players gives an excellent
tonal rendition of the moving train, in the rhythmical accompaniment as well
as the imitation of the whistle sounding its warning. This rendition likewise
confirms Mr. Lunsford's statement about 'Blues,' when he recorded his version
(F-20S). It is interesting, however, to observe in this connection, that the
instrumentalists, when they played by themselves, outside of the flattened
seventh, did not use the 'Blues' idiom of measure 14 of the sung version, but
consistently used the idiom as given for measure 14 in the variations.
There may be a very good reason for this, the technical difficulty of the in-
tonation.
F-206
can't bring her down. Hear the whis-tle blow a hun-dred miles.-
I 14
-^-
:i=^
A-
fP=A:
For melodic relationship cf. **JAFL lxiii 282, measure 2 with our 3-4
and 11-12; FSUSA 254-6, first four measures; our second half related to the
second stanza there.
Scale: Hexatonic (2). Tonal Center: e-flat. Structure: abed (4,4,4,4).
Observe the Mixolydian quality of the flat-seventh. The tonal center is the
lowest tone.
239
A Southern Jack
'A Southern Jack.' Sung by W. T. Huckabee, Jr. at Trinity College, in 1919.
For a different text cf. JAFL lxiii 282. The abominable musical notation
given there, as well as in some other publications, is one of the reasons why
they are not quoted in reference to any musical relationship.
F-207
^
N *.•
-^ V -J-
I got a south - ern — jack, I got a south-ern-
jack.
WORK SONGS
151
j=t=^=:j:
First thing yi do shov - el in the coal, Next thing yi do
^S
J -/ J^
-^SE^tj^^±M
watch the driv - ers roll. I got a south -em-
'-£
3
H-
=t
jack, I got a
— N-
^M
south - ern jack; All a - board on the south-ern jack!
Scale: Pentachordal, plagal. Tonal Center: f. Structure: abb^ac (2,2,2,2,2).
The so-called 'Scotch snap' can be observed in the first and fourth phrases.
Note the elision in the sixth measure.
240
I Been a Miner
'I Been a Miner.' Sung by Miss Jewell Robbins, Pekin, Montgomery county
in 1921 or 1922.
F-208
Nev - er lost noth - ing but a bar - lowe knife.
Scale: Mode III, plagal. Tonal Center: a. Structure: ab (4,4).
241
Some of These Days, and It Won't Be Long
'Some of These Days, and It Won't Be Long.' Sung by Howell J. Hatcher,
Trinity College, Durham, December 6, 1919. Compare a related idea in
SSGSI 251-2; also FSoA 179.
F-209
s
Some of these days and it won't be
long
152
NORTH CAROLINA FOLKLORE
-^ ^
^
^
w
be gone.
You're gon - na call me and I'll —
Scale: Tetratonic (4). Tonal Center: c. Structure: aa^ (2,2). The tonal
center is the lowest tone.
242
I Ain't A-Gonna Work a No Mo'
'I Ain't A-Gonna Work a No Mo'.' Sung by J. D. Johnson, Jr. at Garland,
Sampson county, December 1919.
F-210
?
fe^
^
ain't a gon - na work a
ain't a
^^
-(^
gon - na work a no mo'! Done an' work - ed 'till my
i
hands got sore. I ain't a gon - na work a no mo'!
Scale: Irrational (3,4), plagal. Tonal Center: c. Structure: aa^ba^ (2,2,2,2)
^^ Reprisenbar.
243
Roll Down Dem Bales o' Cotton
'Roll Down Dem Bales O' Cotton.' Sung by Miss Jewell Robbins, recorded at
Durham in 1921 as given in catalogue. In the last two measures, the singer
evidently forgot the words and sang la-la-la-la. The text otherwise is as given
in III 268. The text of the chorus as given in SRA 103-4 is practically identical
with that of our version, which, however, has no stanza. For additional texts
cf. RG 18 and MSON 138.
F-211
^
^
^
^
S
^
Roll down dem bales
cot
ton, Roll down dem
^
^
^
bales
cot
ton, Roll down dem bales
o'
WEEDING THE TOBACCO SEEDBED
WORK SONGS
153
=i^=^
^
^=J
cot
ton; I ain't got
— r~5^
long
to
stay here now.
Scale : Hexachordal. Tonal Center : c. Structure : aa^bc (2,2,2,2)
(2,2,4) = barform. The tonal center is the lowest tone.
244
I Wish My Captain Would Go Blind
'I Wish My Captain Would Go Blind.' Sung by Thomas Litaker, Trinity
College, in 1921 or 1922.
F-212
^
I wish my cap - tain would
go
blind.
-A-
would - n't go to work till half past nine.
Scale: Mode III, plagal. Tonal Center: g. Structure: ab (2,2).
246
Run Here, Doctor, Run Here Quick
'Run Here, Doctor.' Sung by Dr. Newman I. White, Durham, 1922. The
circuitous travels of some texts can be seen by checking the sixth stanza of
'Ground Hog,' III 254, No. 221 B. Compare the singer's musical notation of his
own singing in ANFS 410, No. 10, which is musically impossible. For a
similar text cf. TNFS 151.
F-213
0 9 N
^ 1^
r-T N— 1
A ^
^ 0 r
-1 1 J
^ ^ *i
^ *1 "^ J
rh \ *
\ i J
-1 -1 ^
1 ' 0
\>\j 4-
\ 1 V
1 \j
tJ
Run here, doc - tor
(huh) Run here quick; (huh) The
D "^ '\ ~^ " t'^
^ ^ ^
y m
^ p ^ N. 1
\ II
/k ^ ^ f* !• -r ■
— =1— J^ fN ^^ — ^—
__|N 1 -1 11
^^— ^ b — W-^ ^-
— \ ^ • J ^ ^^
II
d ' ^
li'l-
Ma
ry (huh) Swal-lowed a stick.
(huh)
Scale: Mode III. Tonal Center: f. Structure: aa^a^b (2,2,2,2). The tonal
center is the lowest tone.
VIII
FOLK LYRIC
248
The Inconstant Lover
'Going to Georgia.' Sung by Aries Jones at Ready Branch, Wilkes county,
in 1921. The text was supplied by Miss Edith Walker. Not counting the up-
beat, the melodic progression of the beginning of our tune is the same as that
of F-21S and F-217, but what a difference thereafter. The same text can also
be found in FTM 20. For a similar English version cf. FSEK 44. For
the same story in reversal coming from France cf. FSEK 139.
F-214
i^^
4^
^
^
ing to Georg - ia, I'm go - ing to roam,
I
1
ing
to Geor - gia
To make
it my home.
For melodic relationship cf. **FSmWV 36, general melodic line; SharpK
II 14, No. 78A.
Scale: Mode III. Tonal Center: d. Structure: ab (4,4) ; a and b are rhythmi-
cally related. The tonal center is the lowest tone.
'Young Girls, Take Warning.' Sung by Mrs. Loraine Isley Pridgen, at Dur-
ham in July 1923. Our tune requires two stanzas of those given in III 272-3.
For the occurrence of the same melodic idiom compare F-217, measures i and
7, and F-307, measures 1,3,5. For a similar text in a different song cf.
ASb 244.
F-215
^
It:
Girls,
take warn - ing, take warn - ing from me; Don't
FOLK LYRIC
155
^
« 0 ' 4 ^ * ^-^
put your de - pen-dence on a green grow - ing tree.
^
:^
i
For the leaves they will with - er, the roots they will
:S:
m
w
J i J' I ^
die;- The young boys will leave you, 'cause one has left I.
For melodic relationship cf. **OFS I 237, measures 1-2 and 6-7 with our
5-6 and 11-12.
Scale: Mode III. Tonal Center: c. Structure: aba^c (4,4,4,4). The tonal
center is the lowest tone.
C(I)
'Young Girls, Take Warning.' Sung by G. T. Munsford. No place or date
given.
F-216
S=t=S:
^
&
J
Oh, girls, dear girls! Come take warn - ing by me, — Don't
-! — #-
3tri=ie=^
-v' V-
trust your sweet lives- To a green grow - ing tree. —
2 6-7
^^^^a
c r^ r r
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: abed (2,2,2,2)
there is some rhythmical relationship between the members.
'Going Back to Georgia.' Sung by Bascom Lamar Lunsford, Turkey Creek,
Buncombe county, probably in 1921. Although the title is different, this song,
according to Mr. Lunsford is "merely a variant of the earlier English ballad,
'The Waggoner Lad' as well as of 'Old Smoky.' The same text makes up
the seventh stanza of version C and the ninth of version E.
156
NORTH CAROLINA FOLKLORE
^i^:
F-217
> 9
^
4—^
^
I'm
go - in'
back
to-
Geor
gia,
#=^
±^
V--
I'm a - go
back- to
roam, — I'm go - in'
V
i
5^?=i^
i
:fci
±-^^
-N N
:^
N— **
back- to Geor-gia For to
K-
make that-
my home.
^
4-^
t^^
3e?=
^3^
^
It-
-# — ^— #-
-A--
For melodic relationship of. **SharpK 11 14, general melodic line.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: aba^c (2,2,2,2).
2nd stanza:
Young ladies, take warning.
Take warning from me ;
Don't put your affection
On a green growing tree.
'Beware, Oh Take Care.' Sung by Mrs. E. Wilson of Pensacola, Yancey
county, September 1929. For another song with the same title cf. OFS iii
96-7.
F-218
m
I know
young man both bold and free,
Be
^
ware, oh be - ware. — He can both false and friend - ly
15:
^
ffi
¥
W^^^^^EEE^^^^
u
be, Take care, oh take care.
Be - ware, young girls, he's
FOLK LYRIC
157
m
i
^
^
fool - ing you, Be - ware, oh be - ware. — Take care, I
I
£
• =^ ^
say, he'll flirt with you, Take care, oh take care. —
Scale: Hexachordal. Tonal Center: c. Structure: abb^^b (4,4,4,4). The
cadences of the first and third phrases are identical ; the same is true of the
second and fourth phrases. Actually, the phrase a, with the exception of the
first measure, is otherwise practically the same as the other three. The tonal
center is the lowest tone.
249
The Turtle-Dove
'Little Turtle Dove.' Sung by Letch Reynolds of Sandy Mush Township,
Buncombe county. No date given. For another version from Dorset county,
England, cf. SSLKFS 72-3. For additional texts cf. BT 119 and JFSS iv
286.
F-219
Poor
lit
tie tur - tie dove A - sit - ting
the
^
^
A - mourn - ing for its own true love; And why not
I
me for mine - oh - mine, And why not me for mine?
For melodic relationship cf. ***FSSM 14-15.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: ab (4,6); b is
terminally incremented.
250
The Wagoner's Lad
'Wagoner's Lad.' Sung by Mrs. Ephriam Stamey of Altamont, Avery county,
July 7, 1940. Other titles for this song: 'Farewell, Sweet Mary,' 'Texas
Cowboy,' 'Rabble Soldier,' 'John Atkin's Farewell,' and 'Way Up on Chuck
Mountain.' For a related text cf. Texas FS 162-3.
158
NORTH CAROLINA FOLKLORE
F-220
S^
J' J: J-
2. 'Your hors - es are hun - gry,
go
give them some
i
^
¥
— I 1 1 1 ±-
hay; Come sit down be - side me,
all
£
say.' 'My hors - es ain't hun - gry, they won't eat your
4^
=^^^=^
5^
=?
^
hay. So fare you well, darl - ing, I've no time to stay.'
Upbeat
f-^
i
^
*:
r ^ 2
-0- -0- -ih
Scale: Hexachordal. Tonal Center: c. Structure: abca^ (2,2,2,2). The tonal
center is the lowest tone.
B(a)
'The Wagoner's Lad.' Sung by Mrs. Myra Barnett Miller, in 1936. No
place given. The first four measures are melodically related to measures 4-
8 of F-220. The internal, respectively initial, incrementation causing the five-
measure phrases can easily be seen: measures 2-3, 5-6, etc. This is due, how-
ever, only to the manner of rendition by the singer, rather than to any structural
change. This is obvious in the second recording by the same singer (F-222).
F-221
&
:t^=4:
^
^
'^-
:^
^
'Go
- way from me, Wil - lie, and leave me a-
^m
&
13^
lone; For I am a poor girl and a long way from
W
-(^-
=t
home. Oh yes, I'm a
poor girl, my-
for - tune's been
FOLK LYRIC
159
5^^^
:3^
— (N — ^ — t-
?
bad; I've
a long time been court - ed by a wag - on - er
' 0 d —
^^^^^m
lad. He court - ed me du - ly, by night and by
h=^
^
=i
ih
=i=^
I
day, And— now he is load - ed and a - go - ing a - way.'
Scale: Mode III, plagal. Tonal Center: f. Structure: abaiba^b (2,2,2,2,2,2)
= aa^ai (4,4,4). Circular tune (V).
B(b)
'The Wagoner Lad.' Second version. Sung by Mrs. Myra Barnett Miller be-
tween 1939 and 1941. There are several melodic idioms in common with the
first version. Our melody consists of a repetition of a phrase, which, although
with two different cadences, is identical with the last half of a song of the same
title found in SharpK 11 126, No. 117D. Our measures 9-14 show melodic re-
lationship with measures 4-7 of F-220. The last two lines of each stanza as
given in III 277, No, 250B (b), which resemble a chorus, are missing in the
MS score.
F-222
^
^=fz
'Go 'way from me, Wil - lie, and- let me a - lone. For-
i
m
^
— r
am
-* i^j: * r
poor girl and a long way from home. Oh,
>-v-
yes, I'm a poor girl, my — for - tune's been bad. I've a
^
1
lad.'
long time been court - ed by a wa - gon - er
For melodic relationship cf. ***SharpK n 126, No. 117D.
Scale: Mode III, plagal. Tonal Center: g. Structure: abac (2,2,2,2) =
aa^ (4,4). Circular tune (V).
i6o
NORTH CAROLINA FOLKLORE
'Poor Johnny.' Sung by Mrs. Ephraim Stamey of Altamont, Avery county,
July 14, 1940. Another title given : 'Young Johnny, O Johnny.' Apart from
the title, our text is almost identical with the third and fourth stanzas of F-
297. The chorus given below would require half of the melody of the stanza.
The last two lines of chorus suggest another song, cf. IV 184-5 '^^st two lines.
The variations given in the musical score come from a song 'The Johnny Boy,'
by an anonymous singer. The words of the above mentioned chorus constitute
the text of this song. From these variations it can readily be seen that the
original pentatonic had suffered under the influence of the times.
F-223
i
^
Poor John - ny, poor John - ny, would you think it un - kind
-p — ^ — '. j
I '• i — '
/ J _i
1
j
1
ff^ ' * t
1
V ) •
eJ * S
•
K)
CJ 0
^ ^ •
Fur me
to
sit down be - side you and tell you my
S
mind? My mind is to mar - ry and nev - er to part;
I
^
-z? r
Fur the first time I saw you, you wound - ed my heart.
r, 3-4 ^
7
8
15
J ] ;> 1
1 1 1
fc. 1
1 1
,
1 !
' ! 1
^ 1^
1
^ J • ^ ^
s^. S J
1 ^ J J
1
1 J
) 0- 0 g
J • •
1 '^ J
J •
tj
-J- 0
J- *
-^ ^^
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab (4,4,4,4).
Chorus :
'Oh Johnny, oh Johnny,
What makes you (tell) me so?
Oh, may I go with you?
Oh no, my love, no.'
'The Wagoner Lad.' Sung by Miss Hestabel Bellinger at Altamont, Avery
county, July 14, 1940. For another version cf. Texas FS 162-3, fourth stanza.
FOLK LYRIC
l6l
F-224
^
&
* • w • — ^*<zr*
4. Your par - ents don't love me be - cause I am poor; —
i
They say I'm not wor - thy
to
pen your door. —
I work for a liv - ing, And heav-en's my
home,-
i
w^
And if they don't like me, they can leave me a - lone. —
For melodic relationship cf. **SharpK 11 126, No. 117D.
Scale: Mode III, plagal. Tonal Center: g. Structure: abba (2,2,2,2)
Circular tune (V).
'False Maria.' Sung by Mrs. N. T. Byers of Zionville, Watauga county,
probably July 24, 1923. For additional text cf. Texas FS 278, third stanza.
F-225
If^
£
-4=#=
My foot's in the stir - rup, my whip's in my hand;
i:
My stage it is load - ed and roll
ing
way.
My stage
load - ed and roll - ing a
way.
:t^
I
Mv stupe it
load - ed and roll - ing a - way.
For melodic relationship cf. ***FSSH 276, No. 88; JAFL xlii 292;
**FSSM 20.
1 62
NORTH CAROLINA FOLKLORE
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aa^aa^ (4,4,4,4)
= aa (8,8).
251
SouRwooD Mountain
'Sourwood Mountain.' Sung by Dr. I. G. Greer at Boone, Watauga county,
1922. Bill Hensley, well known mountain fiddler of North Carolina told this
editor that 'Sourwood Mountain' was composed by blind Wiley Laws from
Virginia. He did not say whether it was the version he played^ or the tune
itself. For additional text cf. FSF 231-2. The ms score gives the up-beat,
but without any further text.
F-226
M
m
^
u
(^)
I've got a girl in the Sour - wood moun- tains;
i
3
^
I
¥
She's gone crip - pie an' blin'. She's broke the heart of
I
tE^
^
-t—i
^
man - y a pore fel - low But she ain't broke this - 'n o' mine.
Scale: Mode III, plagal. Tonal Center: g. Structure: abac (2,2,2,2) =
aai (4,4).
iCf. David Barker Bennett, "A Study in Fiddle Tunes from Western North
Carolina," unpublished M.A. thesis, U.N.C., p. 21.
A(I)
'Sourwood Mountain.' Second version. Sung by Dr. I. G. Greer at Boone,
Watauga county, in 1922. There is melodic relationship with the first
version,
F-227
C>>9 1
PS
-f — \ —
— IV-
* I 1
■/ h ^ J
J
0
1 ^ :
If ^ ^ 'J
r ' M
\^} z
1
I've
D I1 1
got
a gal
in
the
Sour
- wood Moun - tains
N N 1 _
>
y ,0 \ 1 ' *
1 ' 1
y h m •
^ »
«
^ ' ' ^ -
/r\P • - 1
»N
V W V w
v/
Ir^
c
She's gone crip - pie an' bUn'.
She's broke the heart of
FOLK LYRIC
163
S^
t=fr
— " P ^-
— P» K 1-
-^■
-y a pore fel - ler But she ain't bro-ken this'n o' mine.
I've got a
^i^==i-
in the Sour - wood Moun - tain He - tink ■
^
too - die all the day — I've got
the
_^__._^
^
I
Sour-wood Moun - tain He - tink - too - die all the day.
For melodic relationship cf. **ABFS 276, fiddle interlude and our measures
11-12 and 15-16; also measures 5-6 with our 1-2 and 5-6; *FSUSA 84, meas-
ures 5-6; ASb 125, measures 1-2; likewise SharpK 11 306, No. 216C.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abacdede (2,2,2,-
2,2,2,2,2) = aa^bb (4,4,4,4).
'Sourwood Mountain.' Sung by Mrs. Joseph Miller of Zionville, Watauga
county, probably in 191 5. The text printed in III 281 evidently was furnished
by Thomas Smith. Our text is as given by Mrs. Miller. Compare second
and fourth lines. Melodically, the last measure resembles the ending of
versions F-230, 231, and 232.
F-228
i
w
Chick - ens are crow - ing on the Sour - wood Moun - tains,
Hey tid - die did - die dum a day Chick - ens are crow-ing
1
:J=it
I
on the Sour-wood Moun-tains, Hey tid -die did -die dum a day.
For melodic relationship cf. **ASb 125, measures 3-8; *EAS, No. 50,
measures 3-4; FSUSA 84, measure 4.
164 NORTH CAROLINA FOLKLORE
Scale: Pentachordal. Tonal Center: c. Structure: aba^b (2,2,2,2) = aa^
(4,4). Every phrase cadences on I. The tonal center is the lowest tone.
'Sourwood Mountain.' Sung by Otis Kuykendall of Asheville, Buncombe coun-
ty, in 1939. Observe the shift in melodic emphasis, measures 3-4 of stanza
and 3-4 in chorus. There is a partial relationship with F-227, first four meas-
ures and last four measures of chorus.
F-229
■i>.^i r r ! I rv^^ * I "I J .
SI
E?EM^
I've got a girl in Sour - wood Moun - tain, She's both
S
crip-pled and blind. She's broke the heart of man-y a poor
^-
boy, But she can't break the heart of mine. Chick-ens a -
l2=t
^^
crow-ing in the Sour- wood Moun- tain, Tell my hon-ey
t^
i
it's not long till day. Chick-ens a - crow-ing in the Sour-wood
I
?
-A-
W
— ' v ^
Moun - tain, Tell my hon - ey she had bet - ter go a - way.
dt
-A \-
-fs h-
N-r-A N-
-^-N-
^ ^
I
For melodic relationship cf. **FSUSA 84, No. 24; ABFS 276, measures
5-i
FOLK LYRIC 165
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: aa^a^aS (4,4,4,4).
'Sourwood Mountain.' Sung by Miss Kate S. Russell of Roxboro, Person
county, July 1923. There is some melodic relationship with F-227, measures
1-4, II-12, and 15-16. For the very ending cf. F-231 and 232.
F-230
:^
=1:
¥^^
Chick - ens crow - ing
Sour - wood Moun - tain,
-h^ — '
1 ^^
— h^
— 1 —
1 1 1 '
/ \} -6
<>
J
J
1
1 1 ' 1
t(y
m
\s)
1 • ^ 1
^
— • — ^
Hay
ho
di - dy
day, Get my dog, and
r=t
i
^
I'll go hunt - ing, Hay ho di - dy - um day.
For melodic relationship cf. ***SHP 25; ASb 125; FSF, No. 142;
**FSUSA 84, our measures 5-8 with 1-4 there; AMS 89; *SharpK n 216,
No. 305.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abcb^ (2,2,2,2) =
ab (4,4). Both a and b have almost identical endings.
'Sourwood Mountain.' Sung by Mrs. Ewart Wilson of Pensacola, Yancey
county, September 1929. A mixture of lines of versions A (third stanza) and
I (second line). The melodic line of measure 3 is identical with that of
F-226. The very ending is the same as that in F-230 and F-232.
F-231
i
^
r^
I've got
girl
Sour - wood hoi - ler, By
i
^
Gol-Iy, you'd bet-ter get a - way. She won't come and T won't
:^
^
^^^fl
^
call — her, By Gol - ly, you'd bet - ter get a - way.
For melodic relationship cf. *FSUSA 84, measures 3-4, with our 3-4 and 7-
AMS 89, same; SharpK 11 305, No. 216, melodic outline.
1 66
NORTH CAROLINA FOLKLORE
Scale: Mode III, plagal. Tonal Center: f. Structure: aba^b (2,2,2,2) = aa^
(4,4).
M
'Sourwood Mountain.' Sung by Bascom Lamar Lunsford of Turkey Creek,
Buncombe county. No date given. The very ending is related to that of
F-230 and F-231. The second line the singer renders very softly. Similar
text as that of version F.
F-232
{/ i~t S K
N ^ N \ \
pf— > —
K
1^^
N
'■^^ ^ ^ '
J S N N N
J J
r \
— 1 1
^>4 * 0-
^ J 0- 0~ 0- •—
'' — ^ — -d—
— W—
— rf
Chick-ens
are crow-ing in the Sour-wood Moun-tain, Tell
my
y »
N ^^ r\
\ \ \
N.
/ a r
K K N
K —
f(\ • \j
'^j ^1 m
0 « J
lk> ^
/ / •
000 w - W -
love she'd
bet - ter get a - way, Chick-ens are
crow - ing in
the
y 1 1^
N
^ ^ ■^ i ' «
• : II
y J J
_V_. _ __v
PS N J r
r J
1 1 1
T{\ * ^ a 1"
J m tP [.'
u «' II
^r •J
1/ • II
tJ
^
Sour-wood Moun - tain, 'Law boys, it won't be long till day
Scale: Mode III, plagal. Tonal Center: g. Structure: abab (2,2,2,2) = aa
(4.4).
252
Pretty Saro
'Pretty Saro.' Sung by Miss Pearle Webb of Pineola, Avery county, on
August 24, 1939.
F-233
3i
33
?
?
When first to this coun - try a stran - ger I came, I
ncqt
m
W
placed my af - fee - tions on a hand-some young man. I
i
?
T
looked all
round me, and
lone
9
^
^ ^
And a poor stran-ger and a long way from home. Oh,
FOLK LYRIC
167
J
W^
^
Sa - ro, pret - ty Sa - ro, I love you, I know, I
i
1
love you, pret - ty Sa - ro, wher - ev - er
go;
No
^
?
^f
tongue can ex - press it, no
po
et
can tell How
I
tru - ly I love you, Oh, I love you so
For melodic relationship cf. *OFS iv 223-5, beginning only.
well.
Scale: Mode III, plagal. Tonal Center: f. Structure: abababab (4,4,4,4,4,4,4,4)
= aaaa (8,8,8,8). Every phrase cadences on I.
A(I)
'Pretty Saro.' Sung by Mrs. Alice Cook of Boone, Watauga county, in 1922.
Cf. OSC 315 for an identical beginning but different text. Our tune is related
to that of F-237 and F-238.
F-234
^-^
:i=it
--^'
^-^-
?^^
^■=^-i^
^f^
When first to this- coun - try a stran-ger I came, I —
i
8^
--f=r-
-7^-
placed my af
fee - tions on a hand - some young dame. I
^.
^=r^-
looked all a - round me, and T was a - lone And a poor
^
stran - ger and
long way from home.
Oh,-
1 68
NORTH CAROLINA FOLKLORE
i
m
kH^
Sa - ro, pret - ty Sa - ro, I love you, I know, I
3
i
love you, pret - ty Sa - ro, wher - ev - er
go; No
P
tongue can ex
press it, no
po
et can tell How
I
i
^ • ^ •— ■ ^— • w • — • <i:^<^<^
tru - ly I love you, oh, I love you so well. —
For melodic relationship cf. ***SharpK ii lo-ii, No. 76A, measures i-io
and 15-16 as well as 76 C, measures 10-12; **SCSM 443A, general melodic
line, except the ending; MSNC 3-4, first eight measures with those of our
stanza and chorus.
Scale: Mode III, plagal. Tonal Center : g. Structure :||: aa^ba^ (4,4,4,4) :|| =
Reprisenbar. Circular tune (V).
'Pretty Saro.' Sung by Mrs. Polly Rayfield of Silverstone, Watauga county,
January 1915.
F-235
&
l±=±
^-
-^-
=t
ty
Pret - ty Sa - ro, pret - ty Sa - ro, I love you, I
i
*
i
w
know, I love you so dear - ly I nev - er can show.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: ab (4,4).
B(I)
'Pretty Saro.' Sung by E. G. Norris at Zionville, Watauga county. No date
given. A combination of first line of initial stanza and the last line of the
second stanza.
FOLK LYRIC
169
F-236
know. T loved you so dear - ly, and I love you still now.
Scale: Ileptachordal, plagal. Tonal Center: g. Structure: ab (4,4).
'Pretty Sarah.' Sung by Mrs. Ewart Wilson of Pensacola, Yancey county,
in 1929. Same text as in SharpK 11 i i, No. 76C. The first six measures are
almost identical with those of F-234.
F-237
:^
^^^
i
m
I ^-^ came to this coun - try in— eigh - teen for - ty -
lone And me a poor stran - ger a long way from home.
For melodic relationship cf. **SharpK 11 11, No. 76C ; MSNC 3-4;
SCSM 443A, general melodic line; OFS iv 225B.
Scale: Mode III, plagal. Tonal Center: a-flat. Structure: aa^bb^ (4,4,4,4);
bi shares the ending with a. Circular tune (V).
'Pretty Saro.' Sung by Mrs. John Trivette of Dark Ridge, End of Nowhere
Branch, Beech Creek, P. O. Box Heaton, N. C, August 10, 1939- _ The
mothers of Mrs. Minnie Church and Mrs. Trivette were sisters. This is one
of the most interesting versions. The melodic line represents an outstanding
example of the art of variation as spontaneous improvisation. The basic tune
underlying this melismatic version is that given in F-237.
170
NORTH CAROLINA FOLKLORE
F-238
i
^__^__^_
^j-jj'lv '^v.^i^v/ / j:=^
W
#
T came to — this- coun - trj'
in — eigh - teen for - ty
S
t'^ — IV
^
tlfi
-N— K
F=^
^
S ^ d
^m
line, I ■ found man - y lev - ers, but — I nev - er found
m
=l^=F9
fe ^-^,?^ ^
^
£
^
i±=i:
I looked
all-
round me, found-
^
^
N— 1^
■^i^ *
lone
Me
a poor stran - ger
I
^;=^
W
-^
and
from-
home.
a. long way
For melodic relationship cf. **SharpK ir 11, No. 76C ; SCSM 443A,
our first seven measures with the first twelve there; MSNC 3-4.
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^ba^ (2,2,2,2)=:
Reprisenbar. Circular tune (V).
253
Old Smoky
'Old Smokey.' Sung by Frank Proffitt at Sugar Grove, Watauga county,
August 1937. Our tune is almost identical with that of F-244. For additional
text cf. FSF 135-6.
F-239
i
s
^
■^
:^=J
On top of old Smok-ey, All cov-ered in snow,-
i
m
^
IE
^
w
By court-ing too slow. —
n h ^
1
4
7
y l''
1 1
1 1
1 1 II
^ 1
'
»
1 1 ! II
fn'S^^ d
^
1 • ' 1
J
II
v.; •
*
■ y - - r
t)
'
FOLK LYRIC
171
For melodic relationship cf. ***FSUSA 60, No. 18; Texas FS 178;
**SCSM 430; SharpK 11 123, No. 117A; *BTFLS iv 72, No. 3.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: ab (4,4).
A(I)
'Old Smokey.' Sung by anonymous male singer. No place or date given.
It is interesting to find a close melodic relationship with the tune of a
Louisiana French folksong quoted below.
. f) h
F-240
^Vy? ^
^ J J
1 ^—
-T-^. — j-fr-;. iv.
(Cp^4
=t=
L^-^
=j=
-J-
U U
On top of old Smok - ey, All cov - ered with snow,-
^
^
i
"g-
I lost my true lov - er By court - in' too slow. —
For melodic relationship cf. ***RMFSR 28; **FSSM 54; T.FFS 91, fir.st
four measures and parts of second phrase.
Scale: Mode III, plagal. Tonal Center: a-flat. Structure: aba^c (2,3,2,3) =
aa^ (5,5), a rather unusual structure.
A(2)
'Old Smokey.' Sung by anonymous singer with banjo accompaniment. Record-
ed probably at Blowing Rock, August 1936.
F-241
^^li4f
W=^
S
^W=F^
^^E
^
Oh, — On top of old Smok - ey, All cov-ered with snow,-
^^
^^
lost
true lov - er-
By court-in' too — slow. —
Scale: Hexatonic (4), plagal. Tonal Center: a-flat. Structure: abac (3,3,3,3)
= aai (6,6).
a(3J
'On Top of Old Smoky.' Sung to this editor by Dr. I. G. Greer at his home
in Chapel Hill, 1953. Our tune and that of F-243 are in the main melodic
points the same.
172
NORTH CAROLINA FOLKLORE
F-242
^^^
5
IBE
-id—d
V
On top of-
old — Smok - y, All cov - ered in snow,
$
^
±-#-
-S^-r
I lost my — true- lov - er By court - in' — too — slow.
For melodic relationship cf. **FSF 135, first four measures.
Scale: Mode III, plagal. Tonal Center: d. Structure: aba^c (2,2,2,2) = aa^
(4,4).
A(4)
'Old Smokey.' Sung to this editor by Mrs. Ruby Lunsford at Chapel Hill,
June 14, 1952. This version is almost identical in melodic line with that of
F-242.
F-243
i
s*
^
^^
liEi
^
-»H-#
:3±
fj
On — top of-
old — Smok - y, All cov - ered — in snow,
I
:^
N-^
-^
-75I-
I lost my — true- lov - er By court - in' too — slow.
For melodic relationship cf. **FSF 135, first four measures.
Scale: Mode III. Tonal Center: b-flat. Structure: abac (2,2,2,2) = a
(4,4). The tonal center is the lowest tone.
'Old Smoky.' Sung by Obie Johnson at Crossnore, Avery County, July 14,
1940, not by Miss Anne Johnson, as stated in III 289. F.C.B. wrote after
the title : " 'The Waggoner's Lad.' " The first three measures are identical
with those of F-239 and F-245.
F-244
33^
^
j=^^M
On top of old Smok-y,-
AU cov -ered in snow,-
i
m^
-rt— ^'^^^ V ' -»::_
lost m.v true lov - ( r By court - ing too slow.
P
FOLK LYRIC
173
For melodic relationship cf. ***Texas FS 178; FSUSA 60; SharpK 11
123, No. 117A; **SCSM 430; BTFLS iv 72, No. 3.
Scale : Heptachordal, plagal. Tonal Center : c. Structure : aba^c (3 3,3 3) =
aai (6,6).
'Old Smoky.' Sung by Zilpah Frisbie of Marion, McDowell county, July
1923. The singer begins as in the score but follows this by the first three
stanzas of No. 2S3A. The first three measures are the same as those of F-
239 and F-244.
F-245
^^S^
it
B
:fe
On top of Old Smok-y-
on a moun-tain so high, —
^
-i ^ '-J-. '-i
:it=5t
T^ * • ~ — " — s)^ei
Where the wild birds and tur-tlc doves- may hear my sad cry.
For melodic relationship cf. **FSUSA 60; SCSM 430; *BTFSS iv 72,
No. 3; Texas FS 178, only first two measures.
Scale: Heptachordal. Tonal Center: c. Structure: abed (3,3,3,3). The
tonal center is the lowest tone.
254
Little Sparrow
'Advice to Young Ladies.' Sung by Mrs. J. Trivette at Heaton, Avery county,
July 30, 1939. Basically, our melody is like that of the stanza of F-670. It
is identical with that of another recording, with the title 'The Little Sparrow.'
For additional texts cf. FSF 366-8; FSEK 98, stanza i; Texas FS 136-7
and 196-7.
F-246
4 I I I I ^ ^ ^ h ^T^
3;
3^5^^
2:
t
Come all ye
fair and-
ten - der-
la - dies,
'-^^=^-
^^i-
you treat your men;
Take warn - ing
how-
i74
NORTH CAROLINA FOLKLORE
^P^=^
— 9 * r
For they are
like-
the star of-
^
^^==?
morn - ing, Look at
1
them
and then they're gone.
6
S
-N i^ N
:^^
5^
i^
I my - self had once a
Scale: Mode II, plagal. Tonal Center: d(m). Structure: abn''b ('2,2,2,2)
= aa^ (4,4)- Every phrase cadences on I.
'Come All You Fair and Tender Ladies.' Sung by Mrs. H. R. Buchanan of
Minneapolis, Avery county, September 7, 1939. Cf. JAFL xliv igo-ioi, where
the text has "They first appear."
F-247
^^^m
3
-f^
-^r-»-
Come all you fair and ten - der la - dies, Take warn - ing
^^
:?^
^
^
iS-^
how you court young men. They're like bright stars of a
I
^^^
■^JT— r
-<^-'
sum-mer's morn - ing; They first are .here and then they're gone.
6
For melodic relationship cf. **SharpK 11 130-5, No. 118D, F, M, N;
♦Texas FS 136.
Scale: Heptachordal. Tonal Center: c. Structure: aa^bbi (2,2,2,2) = ab
(4,4). The tonal center is the lowest tone.
'Come All Ye Fair and Tender Ladies.' Sung by Obadiah Johnson of Cross-
nore, Avery county, July 14, 1940. Quite closely related to F-247. In meas-
FOLK LYRIC 175
ure 6 given in the variations the skip of a fourth was taken with considerable
hesitation and uncertainty ; perhaps the reason might be tliat in the first stanza
this skip was only a third.
F-248
J^ — 1 ^ ^-
1 \ \ \ — 1
=^
=^it:
J
— tT-
— 1 —
- — ^ —
— 1 1 —
— # — • — 1
tj
Come all you fair and ten - der la - dies, Be care - ful
i
^
^^=?
^
how you court young men. They are like bright stars of a
:^
^
and-then they're gone.
sum-mer's morn - ing, They first are here
^
^
For melodic relationship cf. ***SharpK 11 132, No. 118 I; **SharpK 11
130, 134, and 135, No. 118D, K, M, and N; FSSH 257, first four measures only;
OFS I 315, No. 73A; *FSUSA 58-9.
Scale: Hexachordal. Tonal Center: c. Structure: aa^bb^ (2,2,2,2) = ab
(4,4). The tonal center is the lowest tone.
255
Kitty Kline
'Kitty Kline.' Sung by Mrs. Myra Barnett Miller of Lenoir, Caldwell county,
August 1939, 1940, or 1941. Another title given by the singer is 'Lass of Rock
Royal,' which is also given in catalogue. For numerous versions and texts
cf. SharpK 11 113-18 and ASb 126.
F-249
$
3:
i
i=St
' • ^ liiT
2. And who will shoe your lit - tie bare feet,
And
^ f f ..
N
1 ^1 N V 1
~i ^~J^ 1~
-^
1* 1 0 •
N-
F^
€) ', >'
— J—
_? — « — d — ;^
—J
^^^-^—T-
J-
[A
who will erlove vour dear lit - tip hand, .\nd who will ki.^s vour
176
NORTH CAROLINA FOLKLORE
£z
f' J:' ; j-i4 ^
sweet ros - y cheek, When I'm gone to a far dis - tant
I
:1J?
-J'v — 0-
H -j 1 Ij ,
land, my love. When I'm gone to a far dis - tant land.
^-
:t:
Scale: Hexatonic (4). Tonal Center: c. Structure: abb^cc^ (2,2,2,2,2).
The tonal center is the lowest tone.
'Kitty Kline.' Anonymous singer. No place or date given. Cf. Child 76 ('Lass
of Rock Royal'). Measures 3-5 are like those of another folksong, 'Tramp,
Tramp' ; measures 5-6 like those of 'If I Had the Wings of an Angel' in
the 'Prisoner's Song.' The first two measures are related to those of F-251,
252, and 253.
F-250
^
^?
Take me home
to
my Mom - mer, Kit - ty Kline,
^
^
Take me home
to
my Mom - mer, Kit - ty Kline,
i
XT
¥=^=}
When the stars shine bright, and the moon gives light,
i
I
m
Take
home
to
my Mom - mer, take me home.
For melodic relationship cf. **FSSM 38-9, our measures 3-4 and 5-6 with
1-2 and 9-12 there; *OFS iv 156, only measures 1-3.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: aa^bc (2,2,2,2) =
mm^n (2,2,4) = barform.
FOLK LYRIC
177
'Katy Kline.' Sung by Miss Florence Shuman of Black Mountain, Buncombe
county, in 1920. Melodically, measures 5-8 are practically identical with those
of F-250.
F-2SI
— r~
Oh,
^^^^-^
?
say,
don't you love me, Ka - ty Kline? Oh,
-7^
say, don't you love me, Ka - ty Kline? If
you
^
— N-
S
love me, Ka - ty Kline, Put your lit - tie hand in mine.
^
-G>-^-
1
Oh, say, don't you love me, Ka - ty Kline?
For melodic relationship cf. *FSSM 39. measures 5-6 correspond to 9-12
there.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: aabc (2,2,2,2),
'I'm As Free a Little Bird As I Can Be.' Sung by Miss Vivian Blackstock.
No place or date given. Measures 5-6 remind one of 'Old Kentucky Home.'
There is considerable melodic relationship with F-250.
F-252
^
^
=^^=J=
i
:t^
^
I'm as free
lit - tie bird as
J J J-
can
-N—
be.
It
g
I'm
free
lit - tie bird as I
f \— , N N-
can
be;
^i^
g my harp on
T-r^-
weep - ing wil - low tree;
tv IV
^
s
free
lit
tie bird as
be.
178 NORTH CAROLINA FOLKLORE
For melodic relationship cf. **FSSM 39, measures 9-12; OPS iv 156,
No. 700.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
'Free As a Little Bird.' Sung by Tom Boyd of Rabbit Ham, Buncombe coun-
ty. No date given. That the mind of a folk singer is the proverbial melting
pot can be seen from the third line of chorus as given in III 296 and our text,
which changes this line to that of version F. Melodically, measures 6-8 are
more or less the same as those in F-252. Measures 5-6 of chorus remind
again of the Prisoner's Song: 'If 1 Had the Wings of an Angel.'
F-253
^
^^
Take me home,- bird - ie, take me home;
Take me
^r^
home by the light of the moon. When the moon shines
^. d 1 — ^
^
*:
bright and the stars are giv - ing light, Take me home to my
::^ f^i ^ N ^ — 1
1 N^ fs N N
■^ d \ a
k fc.
A d d m
\ • • 4 •
A
^ ^
)
^ • 1 II
tj
m m
mam - ma, take me home. I'm as
free
lit - tie
1
^-
bird as I can be; Just a free lit - tie bird as
^
•z-^
be;
I'll build my nest- on my sweet Kit - ty's
4E
i^^
breast Where the bad boys will nev - er take me down.
For melodic relationship cf. '•'**FSSM 38-39.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: abcdabcd (2,2,2,
2,2,2,2,2) = abab (4,4,4,4).
FOLK LYRIC
H(I)
179
'Free a Little Bird.' Sung by Otis Kuykendall with guitar accompaniment,
at Asheville, Buncombe county, July 16, 1939. There is considerable melodic
relationship with F-2S2. Measures 5-6 of the chorus remind one of 'Old
Kentucky Home.'
F-2S4
I
I*
S
^
3i
-V — I
w
Take me honae, lit - tie bird - ie, take me home; When the
15:
r=p:
S
moon is shin - ing bright and the stars are giv - ing light,
3
m
V
Take me home to my mam - ma, take me home.
£
4t
4^
2±
I'm as
free-
a lit - tie bird as
can be;
:]^
I'm
free-
lit - tie bird
fe
w
be; I'll build my nest in the top of yon tree
:|!^
i
-7b-
Where the bad boys can nev - er both - er me.
Scale : Pentachordal, plagal. Tonal Center : f. Structure : a^bcaa^b^ci (2,2,2,
2,2,2,2) = aai (6,8).i
1 From the first cadence of the stanza (on II), it is quite evident that the
real first phrase somehow was lost sight of. This is borne out by the chorus,
which is a regular eight-measure phrase. Further proof is the text of version
H as given in III 296. Therefore, it was decided to classify the actual first
phrase in the score as a^ of a potential a.
l80 NORTH CAROLINA FOLKLORE
256
All Round the Mountain, Charming Betsy
'Charming Betsy.' Sung by Andy McGee of the Forks of Sandy Mush. No
date given. Two, three, and two four-measure phrases ; the elisions in the third
and sixth measures are evident. Compare measures 7-10 with measures 5-
6 of F-250 and with measures 13-14 and 17-18 of F-262. Likewise measures
7-10 with 5-6 of F-253.
F-255
m
^
^
i
:|=^
^=i
It's all 'round the moun - tain, charm - ing Bet - sy,
It's
^
3E
r J J
all 'round the moun -tain, Co - ra Lee; And
te^
^
nev - er more see you, Dear love, re - mem - ber me.
tr^
I / J ;
For melodic relationship cf. *OFS iii 185-6, beginning only.
Scale: Hexachordal, plagal. Tonal Center: a. Structure: abed (3.3.4.4)-
'AH Round the Mountain.' Anonymous male singer of Alliance, Pamlico coun-
ty, 1925.
F-256
EE
I
in' round the moun - tain, charm - ing
^
Bet - sy,
Go - in' round the moun -tain, Co - ra
n J" -' J^^
s
Lee,-
And — if I can't ev - er see you an - y
FOLK LYRIC
l8l
N-r— ^
i
-T
litzzt
-<9-
more, Then- pray, Ixjrd, re - mem - ber me.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abed (4,4,4,4).
'Coin' Round the Mountain.' Sung by Mrs. M. M. Sutton, of Lenoir, Caldwell
county, in 1926. The elisions after measures 3, 6, and 9 are evident. Note
the four three-measure phrases.
F-2S7
^
i
^^-li
Goin' round the moun-tain, charm - ing Bet - sy, Goin' round the
i
*:
■^^
m
¥
s
moun - tain, Co - ra Lee; Goin' round the moun - tain,
:^
^m
charm -ing Bet - sy, When I'm dead and gnnp. fMnk nf niP.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aa'ab (3,3,3,3).
258
The False True Lover
'As I Walked Out Last Christmas Day.' Sung by C. K. Tillett at Wanchese,
Roanoke Island, on December 29, 1922. For additional texts cf. SharpK 11
115, No. 114E; BT 119; BB 44; AFM No. 23; JAFL lxvii 383; FSRA 128
(observe here the wrong time signature: 6/8 instead of 3/4). For a parody of
the second stanza cf. Texas FS 234-5.
F-2S8
A^-i-
^ ^
J 1 )—
—\^
— 1 1-
—4
^tA_
__* — « — s—
=^^=t=J — j=ib
=itb!b
-—d #-—
As I walked out last Christ-mas day, A - drink - ing of sweet
^
'V-
^
wine, It was there- I-
spied that pret - ty lit - tie girl
1 82
NORTH CAROLINA FOLKLORE
-^— N-
g^
That- stold this heart of mine. She looks just like some
-N— IS f^
-^^■v-
in - stru-ment That's just been put in tune; She looks just-
:^^v
:y
i^
-^E^
like some pink or a rose That blooms in the month of June.
For melodic relationship cf. *FSEK 45, No. 29, first two measures.
Scale: Mode III, plagal. Tonal Center: g. Structure: abab (4,4,4,4).
'Should I Prove False to Thee.' Sung by W. and Clarence Greene. No place
or date given. The recording was kindly supplied by Dr. Amos Abrams. For
additional texts cf. SharpK 11 96, No. 109A (The sixth stanza is similar) ;
ibid. No. 114A and 114E.
F-259
ifi:
t:
^
^-
iS:
I roved, I roved all win - ter night A - drink - ing
Ep^
of sweet wine,
A - court - ing a pret - ty lit - tie
H^
miss Who broke this heart of mine. — Though storms may roll the
^
o - cean, — The heav-ens may cease to be,-
This earth would
-y — 1 M
^ N
1 ^
11
/J J
1 ^ 1
1
i( ^ • •
J 1 J ^
J m r
1
^)
• • J !
1 III
lose its mo - tion, my love, Should I prove false to thee. —
_ri 1 , . 2 3 "^
^— ^--^J Tl
-^i R-^-l .:
^-~^- h
— 1 — ^ ^ — v-^
tJ
>— ^ — 0—0— '
■ 1
^^^ • i=^:
10
-* * i—p
-• — •
— i=H=d
FOLK LYRIC
183
Scale: Heptachordal. Tonal center: c. Structure: aa^ba- (4,4,4,4) =
Reprisenbar. The tonal center is the lowest tone.
2nd stanza :
'Oh ! Who's goin' to shoe my pretty little feet,
Oh, who's goin' to glove my hand,
And who's going' to kiss my ruby lips
When you're in far off land ?'
'Who Will Shoe My Pretty Little Feet?' Sung by Mrs. N. T. Byers of
Zionville, Watauga county, July 24, 1922. There is no tune for the chorus,
but the latter, with negligible adjustments, can be sung to the tune of the
stanza. For additional text cf. SharpK 11 113, No. 114A.
F-260
^
LS:
2. 'Who's gon - na shoe
my
pret - ty lit - tie feet,
XJU—J
J' r J'lJ:^
i
Who's gon - na glove your hands,- Who's gon - na kiss your
N N : z—^ 1 ^r
£
^m
red, ros - y cheeks, When I'm in a far
For melodic relationship cf. ***Texas FS 59.
off land?'-
Scale : Tetratonic (4). Tonal Center: f. Structure: abac (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
259
I'll Hang My Harp on a Willow Tree
'I'll Hang My Harp on a Willow Tree.' Sung by Dr. I. G. Greer, Boone,
Watauga county. No date given. Compare measures 1-2 and 5-6 with
'There is a Tavern in the Town.'
F-261
?
2±
I'll hang my harp on a wil - low tree, A - dieu, kind
NORTH CAROLINA FOLKLORE
=;:^
?
friends, a
dieu,
dieu. I'll hang my harp on a
P^t-F1^T7'
I
weep-ing wil - low tree And may the world go well with thee.
Scale: Hexatonic (4). Tonal Center: c. Structure: abcb^ (2,2,2,2). The
tonal center is the lowest tone.
B(I)
'I'll Hang My Harp on a Willow Tree.' Sung by Dr. I. G. Greer, of Boone,
Watauga county. No date given. This is a second and totally different version
given by this informant and consists of stanza and chorus. Compare measures
13-14 with 5-6 in F-250, F-251, F-252, and F-253.
F-262
Chorus
i
±
ifi;
^3^
I'll hang my harp- on the wil - low tree; I'll be
^
My peace - ful home- has no
off to the war
- gam.
charm for me; The bat - tie - field no pain. — The la - dy I
4=fc=^
--N— #-
-•
love — will soon be a bride with a di - a - dem on her
:t=^
Oh, why did she flat - ter my boy - ish pride? She is
5
:t^
leave me now. — Oh, why did she flat - ter my
^
ish pride? She is goin*
to
leave
me now. —
FOLK LYRIC
185
Scale: Heptachordal, plagal. Tonal Center: g: Structure: ababcdefef (2,2,2,
2,2,2,2,2,2,2)^= aabcc (4,4,4,4,4) == strophe plus inverted barform, or vice
versa.
260
Red River Valley
'Laurel Valley.' Sung by Bascom Lamar Lunsford, of Turkey Creek, Buncombe
county, probably in 1921. Another title given by singer: 'Sherman Valley.' For
additional text cf. MAFLS xxix 74-5.
F-263
S
£^i
IE
:i=^
3. I have wait - ed
long time, my dar - ling, — For the
word you nev - er would say, But a - las, my poor heart
^
5
is break -ing, For they say you are go - ing a - way.
tl
i
%
S
5
i
Then con - sid - er a while ere you leave me. — Do not
i
*
has - ten to bid me a - dieu, But re - mem - her the bright
m
^
3tZ^
Laur-el Val - ley — And the girl who has loved you so true.
For melodic relationship cf. ***Texas FS 190-3 ; **SRA 177-8 ; PSL 463 ;
ASb 130-1; OFS IV 201-4; *SHP 45-6; FSUSA 620, No. 65.
Scale: Hexachordal, plagal. Tonal Center: a. Structure: abcdabcd (2,2,2,
2,2,2,2,2) = abab (4,4,4,4).
'Sherman Valley.' Sung by Miss Addie Hardin, Nick's Creek, Buncombe coun-
ty, July 1922. The chorus of this version is not a mere repetition of the
stanza as in the previous version.
i86
NORTH CAROLINA FOLKLORE
F-264
^
From this val - ley they tell me you are go - ing.
^
*=it
How I'll miss your blue eyes and bright smiles! For you
fei
irrt — r
^
^
f^=^
S
car - ry with you all the sun - shine
That has bright-ened
i
my path — for a while. Let's con - sid - er a while
ere you leave me.
Do not has - ten to bid me a
^
dieu,
But
re - mem - ber the bright Sher - man
^^1
^
Val - ley And the girl that has loved you so true.
For melodic relationship cf. *SRA 177-8, first and thirteenth measures.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abaib^cdab
(2,2,2,2,2,2,2,2) = aa^ba (4,4,4,4) ^ Reprisenbar.
'Red River Valley.' Sung by Bascom Lamar Lunsford, of Turkey Creek,
Buncombe county, probably in 1921. This is a second version by this singer.
The text, however, is based on the second stanza of the A version. The record-
ing is very poor and breaks up at the end of the stanza. The singer, upon
inquiry, informed this editor that the chorus uses the same tune.
F-265
4:
^
^
:t5=J=
When you're far, far a - way from this val - ley-
And you're
FOLK LYRIC
187
t^
^
-^
i
think - ing of loved ones at home, Re - mem-ber that you left
- j,^ , j^ — ^ — I fs — pv-
^^W^l. J ; J IW"^
-J:
1
one be - hind you That will love you wher-ev - er you'll roam.
For melodic relationship cf. ***Texas FS 190-3; **OFS iv 203, measures
1-4; SHP 45-6, measures 1-4; BTFLS in 93, No. 4; *ASb 130; SRA 177-8.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: abed (2,2,2,2) =
ab (4,4).
263
The Pale Wildwood Flower
'Raven Black Hair.' Sung by Dr. I. G. Greer at Boone, Watauga county,
June 24, 1921. Another title: 'A Frail Wildwood Flower.'
F-266
K-
^
^
I'll twine with these locks of ra - ven black hair The
^
m
red and the li - lies so fair. The
*P
^
^3
-V — b"
^ s
-^-t
myr - tie so bright with its em - er - aid hue, And the
1^*f=
^ 1^
— ^ — 1 —
1'*' k -1 l^ ^
i|t^
; ^ ^-
^ ' J
^ J^ J *^ <>" 1
pale At - me
ta
with eyes of dark blue. And the
*
I
W^^
^
^
pale Ar - me - ta with its eyes of dark blue.
For melodic relationship cf. **BMFSB 49, the basic melodic line only.
Scale: Heptachordal, plagal. Tonal Center: d. Structure: aabcc^ (2,2,2,2,2).
NORTH CAROLINA FOLKLORE
The Frail Wildwood Flower.' Sung by Miss Beulah Walton of Morrisville.
Recorded at Durham, July 24, 1923. Observe the reversal of the melodic con-
tent of measure 3 in measure 6.
F-267
^
1^
JVj Ul
^
I'll think of him nev - er, I'll be wild — and — gay; I'll
:t
^
3E
*
cease this wild weep - ing, I'll drive sor - row a
way.
I'll
i^
m
^
s
live — yet to see him re - gret the dark- hour When he
I
^
it
i^
i:
W
and
ne - gleet - ed this frail- wild - wood flower.
tot
:S=1t
s ^ r h iv
H 1 J 1
Si
-»— ^
For melodic relationship cf. **OFS iv 316, No. 798A ; compare melodic
line of our last four measures with the second half there.
Scale: Heptachordal. Tonal Center: c. Structure: abed (2,2,2,2); d is re-
lated to a. The tonal center is the lowest tone.
'The Frail Wildwood Flowers.' Sung by Mrs. W. W. Hughes of Jonas Ridge
(Rip Shin Ridge), Caldwell county, June 30, 1940. Our text is a variation of
the first stanza of the B version. There is considerable melodic relationship
with the melody of F-266.
F-268
-f-^ 1
r~] 1 — \~]
/" ^ 1
l(^ '}
^_
0
^
1
1
\>J Z J
^ ''
' 1
t) •
-d-
^
0
' V
I'll tvrine mid the ring - lets, the rav - ing dark
3f
-s?
hair, The ros - es
red and the
^
lies so
FOLK LYRIC
189
r 1 I
W^
fair, The mjT - tie so bright with its em - er - aid
t
-■G .
f
r^
hue, The sweet A - rin - thus with eyes of dark blue.
For melodic relationship cf. *BMFSB 48.
Scale : Hexachordal, plagal. Tonal Center : c. Structure : aa^bc (4,4,4.4) ; c
is related to a (ending).
267
The Weeping Willow
A
'The Weeping Willow.' Anonymous singer from Nags Head, Dare county.
No date given. Contributed by L. W. Anderson.
F-269
-Az
^
My heart is bro - ken, — I'm
sor - row. Weep - ing
?
P
for the one I love; I know, I nev - er more shall see — him
I ^— I 1—
^
^
Till we meet in heaven a - bove. Then bur - y me be -
^^3
5t=it
neath the wil - low, 'Neath the weep-ing wU - low tree. And when he
3r— te
^
^
I
knows where I am sleep-ing, Then, per-haps, he'll weep for me.
For melodic relationship cf. ***Texas FS 144-5 I *BMFSB 40: AMS 56,
beginning only ; OFS iv 228-30, measure 2 only.
Scale: Hexatonic (4), plagal. Tonal Center: g.
(2,2,2,2,2,2,2,2) = aba^b (4,4,4,4).
Structure : abcda^bcd
1 90
NORTH CAROLINA FOLKLORE
H
'The Willow Tree.' Sung by Miss Hattie McNeill at Ferguson, Wilkes coun-
ty, in May 1920. The first line of the stanza is the same as that of the C
version.
F-270
^
:^
i^
My heart is sad and I
am lone - ly For my
#5 ^ — \ — \—^ ^
-1 N \ \
C)^ J — i-^—^ — ^ — ^^ — ^
—^ 0 ^ 0
sweet - heart's gone- a
way.
He's gone, he's gone, he's
I
^
•A-
Ttn:
gone for - ev - er, He no long - er cares for me.
For melodic relationship cf. ***BMFSB 40.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aba^c (2,2,2,2) =
aai (4,4).
272
I'm Tired of Living Alone
The editor of III 320 says "With the tune." Record 10, however, which
contained this tune, was destroyed in transit to the Library of Congress.
273
Will You Love Me When I'm Old?
'Will You Love Me When I'm Old?' Sung by Dr. I. G. Greer at Boone,
Watauga county. No date given. For parody of this song cf. SSSA 30.
F-271
-^
-#=1^
4 ^ ^
•V ^«
I would ask of you my dar-ling, A ques - tion soft and
tiMz
-^-J-
That gives me man-y a heart-ache As the mo - ments
low
:p=5«:
^
:t=t:
come and go. Your love, I know, is truth-ful, Yet the
FOLK LYRIC
191
-^^^^
^^=^
tru - est love grows cold. It is this that I would ask you:
^E
?=E
^
m
^
Will you love me when I'm old? Life's morn will soon be
4^
^S=^
s
wan - ing And its ev - ening bells be tolled, And my
^a^e
-TT^
B
heart wiUknow no sad-ness If you'll love me when I'm old.
Scale: Mode III, plagal. Tonal Center: f. Structure: abaicabaicaiba^c
(2,2,2,2,2,2,2,2,2,2,2,2) = aaa^ (8,8,8).
A(I)
'Will You Love Me When I'm Old?' Sung by Mrs. G. L. Bostic, near Moores-
boro, Cleveland county, August 7, I939- The text is identical with that of the
A version.
F-272
-^^
^
I would ask of you, my dar - ling,- A ques - tion soft and
t
=^
lo^ That gives me man - y a heart - ache- As the mo-ments
W
^^
i
come and go. Your love, I know, is truth-ful,-
^—\ ^ V
But the
¥
1^-^
tru - est love grows cold.- It is on - ly this my dar - ling:-
192
NORTH CAROLINA FOLKLORE
^
=s — ^-
^-^
— * — • ^
Will you love me when I'm old? — Life's mom will soon be
t
j ; f ;
wan - mg-
And its ev - ening bells be tolled, And my
m
m
s
^^^
:i=±*
heart will know no sad - ness — If you'll love me when I'm old. —
Scale : Heptachordal, plagal. Tonal Center : g. Structure : abaicabaicabalc
(2,2,2,2,2,2,2,2,2,2,2,2) = aa^aa^aai (4,4,4,4,4,4).
'Will You Love Me When I'm Old?' Sung by Mrs. C. K. Tillett of Wanchese,
Roanoke Island, December 20, 1922. The text is the same as that of the A
version.
F-273
^m
B
J I ^ J ■ J i
4 ^ fv N
I would ask of you, my dar - ling,- A ques - tion soft- and-
^^
^^
^^^
low That gives me man-y a heart - ache- As the mo - ments
^
-N ^
/'J. 4'*- ^
come and go. Your love, I know, is truth-ful, Yet the
IE
i^/ J- f^i:j^^n^^^~rj
s.. .s
tru - est love grows cold. And it's this that I would ask you:-
fe^
i
B
■<s>—^
Will you love me when I'm old? Life's mom will soon be
FOLK LYRIC
193
wan - ing And its eve - ning bells be — tolled, And my
r^fcrfe
^
3
=?^=^^
^
I, ^.:^.¥ .^—J
^i==±
I
heart will know no sad - ness— If you'll love me when I'm old.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abcdaibicMi
ab^cidi (2,2,2,2,2,2,2,2,2,2,2,2) = abaib^a^bi (4,4,4,4,4,4).
'Will You Love Me When I'm Old? Sung by Miss Hattie McNeill of Fergu-
son, Wilkes county, in 1922. Same text as in previous version.
F-274
^
S^
I would ask of you, my dar - ling, A ques-tion soft and
tf
f:
^
'^^^=^V^^^^^^^-
i
low That gives me man - y a heart-ache As the mo-ments
J-
^
rj ^ d
i
^^
%■
come and go. Your love, I know, is truth - ful. But the
=^=f=t
V — ^— J-
?
i
tru - est love grows cold. I would ask of you my dar - ling:
stt
^^g
i
^^^
Will you love me when I'm old? Life's mom wUl soon be
f^^^^^^^^E^^^^^^
wan - ing And its eve -ning bells be tolled, But my
fe^^
^
^
3
heart will know no sad -ness If you love me when I'm old.
Scale: Heptachordal, plagal. Tonal Center: a. Structure: abacdefgdefg
(2,2,2,2,2,2,2,2,2,2,2,2) = aa^bcbc (4,4,4,4,4,4). This is indeed an outstanding
194
NORTH CAROLINA FOLKLORE
example for the fact that the musical structure in many cases does not con-
form to that of the text. Here, musically considered, we have an inverted bar-
form, the first 'Stollen' of which constitutes the second half of the stanza.
275
Somebody
'Somebody.' Sung by Miss Gertrude Allen of Taylorsville, Alexander county,
and recorded at Durham, July 26, 1923.
F-275
ifi:
^^
:S=J:
Some - bod
y's
tall
and hand - some,-
Some-
^^^
^ ^ U J
i
bod - y's fond and true, Some - bod - y's hair is
I
i
*:
3
^F^
E
rath - er dark, And some - bod - y's eyes — are too.
For melodic relationship cf. ***NASb 46; **ASb 464-5.
Scale: Heptachordal. Tonal Center: c. Structure: abed (2,2,2,2). The
tonal center is the lowest tone.
'Somebody's Tall and Handsome.' Sung by Miss Jewell Robbins of Pekin,
Montgomery county, between 1921 and 1923. In the text given in HI
325 C "very dark" has here become "rather dark."
F-276
l=fi
^
-^-
S:
3. Some
bod
y's
tall
and hand - some, Some-
m
^
w
bod - y's brave and true,-
Some - bod - y's hair
.-^.r s
M
-j-^-jt
?
rath - er dark,- And some - bod - y's eyes — are blue. —
FOLK LYRIC I95
Scale : Heptachordal. Tonal Center : f. Structure : aab (2,2,4) = mmn =
barform. The tonal center is the lowest tone.
276
You, You, You
'You, You, You." Sung by Miss Aura Holton at Durham. No date given.
This editor would attribute such songs to the tidal wave of so-called 'semi-
classics' published in the period of the First World War and thereafter. These
rhymsters and songsmiths— as they still do — had regular ofTice hours and
their output went on after the principle of the "rolling band."
F-277
«
kV M J'
S
J- j- j:^ ^. I J ^^
v
In
cool shad - y nook by the side of a brook
^
m
^^^
tJ -«- -^ -^
Two sweet maid - ens sat fish - ing a - lone. — They talked as
m
^
:n=S=
they fished and the young - er girl — wished For the sweet-heart
^
Ht
she nev - er had known. The old - er girl said with a
m
^
-^-
V V
toss of her head, 'Oh, dear, there's no cause to be blue! —
i
±
;^=^
Al - though you've not met. He'll come to you yet, For there's
i
¥^
^^ss
E
^
some-bod - y wait -ing for you. —
Some-where some - bod
t
pS£
y's wish - ing for you, you, you, Some-where some - bod
NORTH CAROLINA FOLKLORE
^
y's wait - ing with heart
true, —
Some - where
^
S
you'll love some - bod - y who loves you too,
±
-^-
^^=^
-*-^ir
Some-where somp-bod - v's wait- ing for you, you, yon.' —
Scale : Hexachordal. Tonal Center : b-flat. Structure : ababcdcd^ (4,4,4,
4,4,4,4.4) = aabb^ (8,8,8,8). The tonal center is the lowest tone.
277
Cold Mountains
'Cold Mountains.' Sung by Mrs. Alice Cook, of Boone, Watauga county,
in 1922. The tune demands two stanzas of the text given in III 325-6. The ms
score had a chorus indicated, but with an attached question mark. There is
no chorus, however, in the recording. The first half and the ending of this
tune remind one very much of 'Claude Allen' (IV 422) and of 'Wayfaring
Stranger' (F-670) as given in this volume.
F-278
^
^=i=^
F^^^
i
Cold- moun-tains here — are all a - round me, Cold wa - ters
S
^
S
glid - ing down the stream; Oft in my sleep — I think I
^
-A-
=^ ' ^t—ir
find her But when I wake- it's all a dream. When I a -
m
woke
did not find her
All
my bed
^
^m
£
?
I wept and — mourned; Tears from my eyes — fell with -out
i
»
FOLK LYRIC
num - hor And all he - rause
197
I'm left a - lone.
Scale: Mode II, plagal. Tonal Center: d(m). Structure: aba'bcc^a^b
(2,2,2,2,2,2,2,2) =: aa^bb^a^ (4,4,2,2,4). The tonal center is the lowest tone.
277(1)
'Cold Mountains.' Sung by Miss Hattie McNeill of Ferguson, Wilkes coun-
ty, in 1922. The beginning recalls 'There's No Place Like Home.'
F-279
sife*
:3:
m
Cold — moiin - tains here are all a - round me, Cold
k=±
^
wa - ters glid - ing down the stream ; Oft in my sleep I
i
^^^
^
think I find her, But when I wake it's all a dream.
Scale: Heptachordal. Tonal Center: e-flat. Structure: abed (2,2,2,2) =
ab (4,4).
278
My Home's Across the Smoky Mountains
'My Home's across the Smoky Mountains.' Sung by Bascom Lamar Lunsford
for this editor at Chapel Hill, May 23, 1953. He stated that this song can be
classified as a 'Straw-ride Song.' Possibly it is based upon an old religious
song : 'Oh, How I Love Jesus.' The beginning somehow recalls 'Go Tell it
on the Mountains.'
F-280
^
My home's a - cross the Smok - y Moun - tains, My home's a
^^m
^
^
^
cross the Smok - y Moun - tains, My home's a - cross the Smok -y
198
NORTH CAROLINA FOLKLORE
I
*:
^
:tc;=f=
m
^
^^^
^ *
^
-<s>-^
Moun - tains, And you'll nev - er get to see me an - y - more.
a 6
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2) ; d is
somewhat related to a.
'I'm Going over the Rocky Mountains.' Sung by Miss Mamie Mansfield at
West Durham, in 1922. The recording listed in the catalogue is credited to
this singer.
F-281
^fe^fe
^
2. Where's that fin - ger ring I gave you, Where's that fin-ger
■f^-j"— ^
^
-^ ^ -•■
ring I gave you, Where's that fin - ger ring I gave you, my
I
love? For I'll nev - er see my dar - ling an - y more
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: aba^c (2,2,2,2)
= aa^ (4,4). Every phrase cadences on I.
280
Red, White, and Blue
'Red, White, and Blue.' Sung by G. S. Robinson of Asheville, Buncombe
county, July 7, 1939. The reference to BSM in III 328 should be 490, not
480.
F-282
W.
^
^
Ei
^ j^_ — -^
I once had a sweet-heart but now I have none.
FOLK LYRIC
199
He's gone and left me; I live all
lone.
r*
g
^
^
45=f^
live all a - lone, and con - tent - ed will be, For he
^
i
i
loves — an - oth - er one bet - ter than me. Green grow the
^-^^-^^-T^-1
^
laur - els all wet with the dew. Sor - row of the time that I
i
i
part - ed from you. The next time I see you I hope you'll prove
*:
?
^
true And change the green laur - els to red, white and blue.
For melodic relationship of. ***SCSM 445^.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abakabaic (4,4.4,
4.4,4,4,4) = aa^aai (8,8,8,8).
'Green Grows the Wild Olive.' Sung by Miss Madge Nichols at Durham in
1921. The text is that of Miss Mamie Mansfield. Compare the melodic ending
with that of F-282.
F-283
rt
^
^^E^^^^^^^
^^
once had a sweet-heart, but now I have none,
-] N N
rr I •' '^ ^-^-^
He has gone and left me, and left me a - lone. He has
200
NORTH CAROLINA FOLKLORE
^
gone and left me; but con - tent - ed I'll be. He is
:|^
e^
^
^
lov
ing an - oth - er girl bet - ter than me. Green
£
grows the wild ol - ive, and so does the rose. Its
:^
m
-w-
sad since I part - ed my heart from yours. I
*
^E^
*:
m
hope the next meet - ing will prove to be true And
:1t
^
change the green ol - ive to red, white, and blue.
For melodic relationship of. *SCSM 446.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abacabac (2,2,2,
2,2,2,2,2) = aa^aai (4,4,4,4).
281
Down in the Valley (Birmingham Jail)
'Birmingham Jail.' Sung by Otis Kuykendall of West Asheville, Buncombe
county, August 1939.
F-284
1;=
:|^
:|^
-f
:&=±z
Down on the le - vee, le - vee so low, — Late in the
eve - ning hear the train blow,- Hear the train blow, love,
FOLK LYRIC
201
I
g
m
hear the train blow,- Late in the eve - ning hear the train blow.
For melodic relationship cf. ***Texas FS 150; FSF 69; **FSUSA 62
(first phrase) ; SHP 31-2 (first phrase) ; ASb 148 and 213 ('Bird in a Cage') ;
*ABFS 147-8; OFS IV 284-5 (beginning only).
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abab (2,2,2,2).
283
In the Pines, Where the Sun Never Shines
'The Lonesome Pine.' Sung by Miss Hattie McNeill of Ferguson, Wilkes
county, in 1921. With the exception of transposing the tune one half step down,
the score given below is an exact replica of the ms score. This tune, melodically,
is identical with that of F-286. For another version cf. JAFL xlix 224-5.
F-28S
^
m
^.^=t
i
^=te
i^
3tZt
1^-#
For the
O
^^
m
e
my Geor - gy line. — ■
long - est train I ev - er saw Was
darling, o darling, don't tell me no lie.
For melodic relationship cf. ***SharpK it 278, No. 203.
Scale: Pentachordal. Tonal Center: d. Structure: abab^ (2,2,2,2) = aa'
(4,4). The tonal center is the lowest tone.
C(I)
'There's More Than One.' Sung by Miss Hattie McNeill of Ferguson,
Wilkes county, in 1921. This represents a faithful transcription of the record
labeled Cyl. 5-XI, which is supposed to have been the basis for the transcription
referred to in III 334, No. 283C, as 'fragmentary lines.' In referring to a
record made by Miss Hattie McNeill, the editors must have meant the written
record given in the ms score, which indeed is fragmentary. It is now beyond
ascertaining why this should have been so. The phonographic recording was
made from Miss McNeill's singing and covers the chorus plus several stanzas.
The text follows that of the A-version, rather than that given in the MS
score. To be sure, it took persistence and patience to extract all of the tune
and text from the recording available, but it paid off. The singer uses the
first stanza of the A-version as her second stanza. This tune is the same
as that of F-28S. For textual comparison cL III No. 292B, first and second
stanzas, and No. 301 B, fourth and seventh stanzas; also SharpK 11 278, No.
203.
202
NORTH CAROLINA FOLKLORE
F-286
s-#^-#
-N— i#
5^
s
To the pines, to the pines, where the sun nev - er shines. Oh, I
^-^
^=i
^^
^
shiv-ered when the cold wind blowed. 8. The long - est train I
t
i
s
3^3^
:3i=
ev - er saw Was on the Geor - gia line. — The en - gine
^
^
^
passed at five o - clock, The cab nev - er passed till nine. —
1-3
ttifYS'^^^^t^^^j^
m
For melodic relationship cf. **JAFL xlix 224.
Scale: Fentachordal. Tonal Center: d. Structure: ababab (2,2,2,2,2,2) =
aaa (4,4,4). The tonal center is the lowest tone.
'Pretty Little Girl.' Sung by T. F. (Grandpa) Church of Heaton, Avery
county, August 10, 1939.
F-287
in
\
N
^ \ \
1
#^^t=?=
FV—
1 — —
-#-
1
- J .
N
-^J^
— N K K-^
-• s W
1
-0-
Oh, don't you see yon pret - ty lit - tie girl
m
^=M
3=f
S
=t=^^ ,
Was fool - ing all young men? I'll give to her-
r^
i
it
^^.
¥=^
-0- . -# •
aBzjt
^^
ten gold - en years, Cause she does —
Most stanzas: 1 37
like
she feels.
m
i^
-fs
^
FOLK LYRIC
203
For melodic relationship cf. **JAFL xlix 224-5 (especially the last four
measures).
Scale: Mode III. Tonal Center: c. Structure: abed (2,2,2,2). The tonal
center is the lowest tone.
284
Bonnie Blue Eyes
'Bonnie Blue Eyes.' Sung by Mrs. James York of Olin, Iredell county, August
24, 1939. Despite the flattened seventh, decidedly not Mixolydian.
F-288
it
1 l_J L_
^
=3=
-^
:S^ *^^^
I asked your Mom - mer for
you, I asked your
-N—
S
Pop - per for
you,
They both said, 'No,' lit - tie
7' — ? — h-
K
\
-1
h^ ^-
T-^~^-
=^—
-•-
IV-
—d
^
-^^-J—
— h
— #- — '
Bon - nie Blue Eyes, Don't cry, my Bon - nie Blue
9
m
i. i I
^
-^- — ^
Eyes.
Don't cry, my Bon - nie Blue Eyes-
Don't
^^^
i
cry,
my Bon - nie, don't cry, — For if-
you cry you'll
--A-
^=^5
■^
spile your — eye, Don't cry my Bon -nie Blue Eyes. —
f) I 3 , 5-6 ^ .
y
^ 1
fL
^c 1 ' 1"^ ^
((\\ s
-w^— M
r-H^-f-f-f-
-f—J-^^—^—J
-^^ K-V
h^
' J * ^ 0^
— g— L' '^ '> -
-J 1 N -N-.
S- -0- -0- -0-
For melodic relationship cf. **OFS rv 209-10 (general melodic outline) ;
Texas FS 194; FSSM 16-17 (general design and cadences).
204
NORTH CAROLINA FOLKLORE
Scale: Heptachordal. Tonal Center: e. Structure: abcaiaibciai (2,2,2,2,2,2,2,2)
=: aba^b^ (4,4,4,4). The tonal center is the lowest tone.
'Bonnie Blue Eyes.' Sung by Miss Louise Rand Bascom of Highlands, Macon
county, in 1914. There are all in all four MS scores for the tune which, accord-
ing to III 336 were given by Miss Bascom. Since they are all identical,
the tune indicated under version D, as well as the two additional 'anonymous'
sheets with the music for the song, lose meaning as far as another version is
concerned. Someone had written on one of these scores : "If we omit any, let
il be this." Having four identical scores, it was a challenging task to decide
on "this." The second stanza given in the ms score is the second stanza of
the D version.
F-28Q
i
^
ifi:
XT '
Good -bye, lit- tie Bon-nie, good-bye,-
Good - bye, lit - tie
^^^
jE
Bon - nie, good - bye,-
You've told me more lies than the
mi--
^
stars in the skies, You ain't my Bon - nie Blue Eyes.-
Scale: Tetratonic (4), plagal. Tonal Center: g. Structure: aaa^a (2,2,2,2).
'Bonnie Blue Eyes.' Sung by Bascom Lamar Lunsford, of Turkey Creek,
Buncombe county. No date given.
F-290
m.
:t
It's
my
lit - tie Bon - nie Blue
It's
:fc^
£
=?:
my lit - tie Bon - nie Blue - Eyes,- Six weeks to - day she
I
S
f+i:^.* J' / ;
left this town, It's my — lit - tie Bon - nie Blue - Eyes. —
For melodic relationship cf. ***OFS iv 210; FSSM 16-17; **Texas FS
194.
FOLK LYRIC
205
Scale: Mode III. Tonal Center: d. Structure: abca^ (2,2,2,2). The tonal
center is the lowest tone.
285
The Midnight Dew
'If the Train Runs a Wreck.' Sung by Mrs. N. T. Byers (formerly Miss
Louise R. Bascom), of Silverstone, Watauga county, in 1914. Recorded at
Zionville. The ms score with this different title does not provide for the
'Hoo-Hoo' as given in the printed text, III 337-8. (cf. JAFL xxii 244-5).
The ending of the second stanza, however, as derived from the recording,
would take care of that. A note says : "Song Jingle."
-0
1 ^ N
^ N
F-29I
y o
!
N
^ N
/■v ^ ^ N
J J J
J 1
g
-•^
1 ■
((^ A 1
' ' »
'
\iJ '^ J J
11 ' *
5. If the train runs a wreck I'm sure to break my
^EE^
*:
£
m
neck; I'll nev - er see my hon - ey an - y - more.
Stanza 2
^^$^
^
^
Scale: Tetratonic (2). Tonal Center: e(m).
barform. The tonal center is the lowest tone.
Structure : mm^n (2,2,4) =
286
Fly Around, My Blue-eyed Girl
'That Blue-Eyed Girl.' Sung by Bascom Lamar Lunsford of Turkey Creek,
Buncombe county, who learned the song from Fletch Rymer in 1898. Textually,
compare this with IV 86-7, No. 37D; melodically, (second measure only)
with IV 89, No. 37G. For a diflFerent version from Somerset cf. SCFS 32-3
and FSEK 45, No. 29, stanza three.
F-292
r#
^^^
ifc
— N-
±=:3t
How old are
you,
pret - ty lit - tie miss? How
206
NORTH CAROLINA FOLKLORE
i
^^^
i
±
old are you my hon - ey? She looked at me with a
=i==^
TpHr^
smil - ing look: 'I'll be six - teen next Sun - day.' It's
i:^
^
i
ti
s
fly a - round, my blue - eyed girl, It's fly a - round, my
dai
sy;
It's
fly a - round, my pret - ty
1^
^'
lit - tie miss — You've done run me
zy.
For melodic relationship cf. **JAFL vi 134, measures 3-4, 7-8, 11-12, and
IS-16.
Scale: Mode III, plagal. Tonal Center: b-flat. Structure: abcbiabcbi
(2,2,2,2,2,2,2,2) = abab (4,4,4,4).
A(I)
'That Blue-Eyed Girl.' Anonymous singer. No date or place given. This
version uses the chorus of the C version and the fifth stanza of the A version.
Measures 3-4 in both stanza and chorus are identical with those of F-292. Our
singer replaces "daisy" with "darling" and thereby spoils the rhyme.
F-293
Chorus
:±=^
^
Oh, fly 'round, you pret - ty lit - tie miss, Oh, fly.'round my
S
V--
dar - ling; Oh, fly 'round, my pret - ty lit - tie miss, You
al - most run
zy-
5. If
had
FOLK LYRIC
i^ N =
207
I
i
horse at all, I'd be found a - craw - lin' Up and
^-
I
down the rock
1-2
y branch Look - ing for my
dar - Un'.
Ev - 'ry time I do that work.
For melodic relationship of. ***JAFL vi 134; *Texas FS 211. measures
2 and 6.
Scale: Irrational (2,4). plagal. Tonal Center: c. Structure: abaibiabaibi
(2,2,2,2,2,2,2,2) = aa^aai (4,4,4,4).
No title given. Sung by Miss Hattie McNeill of Ferguson, Wilkes county,
in 1922 Melodically, this version is almost identical with F-293. The last
two measures are the same as in F-77. The first two measures are very similar
to those of F-444.
F-294
Fly a-round,my blue-eyed gTrl, Fly a-round,my dai-sy;
4
fe
-^i— ^
Fly a -round, my blue-eyed girl, You al - most run me cra-zy.
For melodic relationship cf. ***JAFL vi 134.
Scale: Mode III, plagal. Tonal Center: a. Structure: aba^bi (2,2,2,2) =
aai (4,4).
The Blue-Eyed Girl.' Contributed by Mrs. N. J. Herring, Tomahawk, Samp-
son county. The catalogue gives Dr. I. G. Greer's name in parenthesis; he
actually sang the song at Boone, Watauga county, June 24, 1921. Although
melodically this tune is identical with that of F-294, it is used to show its vigor-
ous rhythms in contrast to the former. There is no tune for the chorus as
printed in III 341, but that of the stanza will fit perfectly.
208
NORTH CAROLINA FOLKLORE
^
^.
F-295
1
n#
Fly aU a
- round, my
blue-
• eyed miss, Fly
all
y #11 - ''^
^,— ^
fj ^
IJ "
/ if
s i-v
« •'. --I* . -.
P m _i^ J
_i^
^f^^ *■ K J •
& r r
_ M
w r ' ' •
m
\J^^ S" s
y k y
y \'
t.
^
^ V
a - round, my dai - sy;-
Fly all a - round, my
:f^
i
^
= 0—. 1 FS -+V
-0- -4- ^
blue -eyed miss, You're a - bout to rim me era - zy.
For melodic relationship cf. ***JAFL vi 134.
Scale: Mode III, plagal. Tonal Center: a. Structure: aba^bi (2,2,2,2) =:
aai (4,4).
288
Billy My Darling
'Billy.' Anonymous singer, in 1922. No place given, but the ms score gives
Mrs. D. H. Sutton and her sister as the source of this version. It is not
clear which one sang this version, or if, as is almost always the case, someone
else sang for them but received no credit. The score below is changed from the
original 3/4 in MS score to 9/8; the melody is transposed.
F-296
^
^^
^
iS:
Bil - ly, my dar - ling, Bil - ly my dear,-
r=^
-yi-^-j-
When you think I don't love you it's a fool - ish
J^^^L^
dea Up in a tree - top high as the sky, —
^
I
^-J ^
Bil
Iv,
Bil
!■»' pass bv.-
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abab^ (2,2,2,2)
— aai (4,4).
FOLK LYilIC
209
290
Troubled in Mind
No title given. Sung by James York of Olin, Iredell county, August 14,
1939- Our text of the first stanza constitutes the chorus of another song in this
collection: III 278-9, No. 250D ; and also of another different song: ASb 243-5.
The missing line in the sixth stanza in III 345 is "They say I'm too poor."
For other versions which have the same text cf. WNS 155 and FSF 135.
For a different version cf. FSoA 171 and NSSUS 92.
F-297
i
:2:
^
r ^iJ r
E2:
I'm trou-bled, I'm trou-bled, I'm trou-bled in mind
i
3
3
1
11
w
=^
And if tTon-ble don't kill me I'll — live a long time.-
Scale : Mode III, plagal. Tonal Center: f. Structure: ab (4,4).
A(I)
No title given by singer. The blue catalogue, however, gives 'Pretty Polly' and
'Troubled in Mind.' Sung by Mrs. James York of Olin, Iredell county.
Recorded at Boone, Watauga county, August 8, 1940. The singer uses stanzas
6 and 5, in the latter only changing "Farewell" to "Goodbye" and "Polly" to
"Molly." Both these stanzas are required to satisfy the tune.
F-298
6. Your par-ents don't like me
And that I well know-
J J- I. J-
They say I'm not wor - thy —
Of knock-ing your door.
:Jt
S^
:|!^
^
m
-^
Good - bye,-
pret - ty Mol - ly,-
I'll bid you a - dieu.
^^
^m
^
*
I'm ru - ined for - ev - er
By lov - ing of you.
t:
210 NORTH CAROLINA FOLKLORE
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abcb (4,4,4,4).
A(2)
'Pretty Polly.' Sung by Miss Faye Watson at Boone, Watauga county,
August 14, 1939.
F-299
— V
^^
3. Oh,
"^ -^. J- -J-
ly, pret - ty Pol - ly, Would you think it un
^
^
-^-
kind, Oh, Pol
3
ly, pret - ty Pol - ly,Would you think
it un'
-1st
t-
St
m
kind For me to sit by you And tell you my mind?
Scale: Hexachordal, plagal. Tonal Center: f. Structure: aaibb^aa^ (2,2,2,
2,2,2) = aba (4,4,4). This is nevertheless not what generally is called a
three-part form.
292
Lonesome Road
'Look Up, Look Down That Lonesome Road.' Sung by Miss Jane Christen-
bury, at Trinity College, probably in 1923. Compare our first stanza with the
second of No. 283 and the sixth of No. 301 B. Also our second stanza with the
third of No. 283A and the seventh of No. 301 B. For the line "Hang down
your head and cry" cf. IV 325, No. 303B. For additional texts cf. ASb 322
and JAFL lxiii 281.
F-300
I^
i
^
^
E^
t-
^
Look up, look down that lone - some road, Hang down your
^
1
^
head- and cry, my love, Hang down your head-
For melodic relationship cf. *TNFS TZ-
and cry.
Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: nmm (2,2,2) =
inverted barform in which the epode is very short.
folk lyric
Sweet Birds
'Sweet Birds.' Sung by Wagner A. Reese in 1921 or 1922. No place given.
F-301
^-
^
^ ^ s-
fe:
1. The birds are re- turn - ing their sweet notes of spring O'er
^
*^
mead-ows and brook-lets so near 'Way down by the dell
S
*
where they joy - ful - ly sing — A mes - sage of hope and good
y d' d^
:i=i=
:^=f^=
cheer,
As I sit in the dream of my slum-ber so deep
m
*
^^
And my dar - ling far
the
Just
't-
*
:ifc=i^:
ask the sweet birds as they come back to me-
And
y ^
^
V. -J-
say I've a mes -sage for thee.
Sweet
birds, sweet
^
birds,-
Oh, say that my lov - er
true,-
Sweet
m
1
— ^ — S^ — ^ — ^ — N — \ — :t
birds, — sweet birds, — And then I'll be as hap - py as you.-
For melodic relationship cf. **MemM 103-4; BMFSB 58, the refrains of
both versions.
212
NORTH CAROLINA FOLKLORE
Scale : Heptachordal, plagal. Tonal Center : d. Structure : aba^bcdcib^edeb^
(2,2,2,2,2,2,2,2,2,2,2,2) = aaibb^cc^ (4,4,4,4,4,4).
'Sweet Birds.' Sung by C. K. Tillett of Wanchese, Roanoke Island, December
29, 1922. According to III 351, the text to this version was obtained the
following year.
F-302
m
4V:
i^
^
Oh, tell me, sweet birds, is he think - ing of
I ;■ / ;
And the prom - ise he made long a - go?-
-^ — ^-
If he would
^^ J J J- 1 ; /. E^
re - turn, how hap - py I'd be! Oh, why does the years creep so
;i;;/ ; r /| / J' i' J
slow? — I'm tired and heart-sick of wait - ing so long For my
is
i
lov - er who's far o'er the sea. — Go to him and
m
i
sing him your beau - ti - ful song And tell him to
9
m
^m
i
^
come back to me.-
Oh
bird,-
sweet bird,-
Oh,
It ^ I I I — — I I I N — I
— 0 — 0-i — 0 — s y I ^ ' -I
tell me my lov - er
true!-
Oh bird, sweet
^
1
bird,-
And I'll be
hap - py as
you.
FOLK LYRIC 213
For melodic relationship cf. *BMFSB 58, refrains of both versions.
Scale: Heptachordal. Tonal Center: d. Structure: abaibicbcibidbdibi (2,2,2,
2,2,2,2,2,2,2,2,2) = aa^bb^cci (4,4,4,4,4,4). The tonal center is the lowest
tone.
298
I Wish That Girl Was Mine
'I Wish That Girl Was Mine.' Sung by G. S. Robinson, Asheville, July 18,
1939- For ^n additional version cf. WCIYS 38, where the author notes:
"composed and sung by the ex-slave Negroes whereon the plantation I was
born." From stanza one found there, the partially missing line of our second
stanza could very likely be supplied. In addition, also see III 525-6, No. 445,
where not only the second line can be found but also our refrain. But in
this case, Dr. White suggested that the latter might be of minstrel origin. Cf.
TNFS 102, last stanza. The beginning of our chorus is a take-off of "It ain't
gonna rain no mo'."
F-303
^^^
:2:
^
i^
When I was a lit - tie boy, Just eigh-teen inch - es
high,
How I'd hug and kiss those girls To see their
^^
^
mam - mas cry! Oh, I wish that girl was mine. Oh, I
m
wish that girl was mine!
The
on - ly tune
that
-j—T-r
^^
I can play Is 'I wish that girl — was mine.'
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aba^b' (4,4,4,4).
299
Cripple Creek
'Cripple Creek.' Sung by Mrs. Arthur Moore, Lenoir, Caldwell county in
1922. Our text is the third stanza of version A. For a similar text cf.
214
NORTH CAROLINA FOLKLORE
SharpK ii 358, No. 247. The notation in the ms score is changed to 2/4, and
the barlines are changed.
F-304
r r r-
^m
^
Go - ing up to Crip - pie Creek, Go - ing
run,
S
^
I
W
Go - ing up to Crip - pie Creek To have some fun.
Scale : Hexachordal. Tonal Center : c. Structure : aba^c (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
'Cripple Creek.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county, in 1921. Our text constitutes the chorus in the version given in 31
FSSM S3, and the third stanza of version A in III 354-5. For another version
with the same title but different text cf. BTFLS vi, 40.
F-305
^
Go - ing down Crip - pie Creek, Go - ing in
run,
^=?=
^
J
Go - ing down Crip - pie Creek, Go - ing in
run.
%
^
^
Go - ing down Crip - pie Creek, Go - ing in a run,
i^^
I
:?F
^
V ^ ^
Go - ing down Crip - pie Creek Have some fun.
3 ^
J' ;' i'
-^-
:t-
^H
For melodic relationship cf. ***Ford 94; FSSM 53; *SharpK 11 358, No.
247, first two measures only.
FOLK LYRIC
215
Scale : Heptachordal, plagal. Tonal Center : d. Structure : aa^a-b (2,2,2,2)
— aai (4,4).
301
High Topped Shoes
Those High Topped Shoes.' Sung by Herman Houck, Jefferson, Ashe county.
No date given.
F-306
3^
^
4. 'Oh, where'd you get those high topped shoes, That dress that
7V-? — f^ — ^^-^ \ — f — • — r i — i — r — i —
(k^ — • 4 ^ ^ ^ ^ 1 P i/
fits so
fine?' 'I got those shoes from a rail - road
I
Jht-^^-^-^^m
^
man And
0 ^~'^
my dress from a
driv
- er
in
the
mines.'
y 1 0
^
A
■ II
/ b '» m
I ' f
•
II
v\^ 4
U'
K
r" II
\^J 4-
^
^
1 II
V
1
Scale: Mode HI. Tonal Center: b-flat. Structure: aba^c (2,2,2,2) = aai
(4,4). The tonal center is the lowest tone.
'High Topped Shoes.' Sung by Houston and Wiseman, Upper Hinson's Creek,
Avery county, August 26, 1939. Compare our measures i, 3, and 5 with 5-6
and 11-12 of F-215 and observe the different use made of the same melodic
idiom.
F-307
^ J^ l~l
*=3=
-T
'Oh, where'd you get your high — topped shoes And the
^^
^
S
dress you wear so fine, my love, And the dress you-
2l6
NORTH CAROLINA FOLKLORE
I
^
6=^
^
* J i
ir
wear so fine,- my love, And the dress you- wear so fine?'
Scale: Mode III. Tonal Center: b-flat. Structure: aa^ab (2,2,2,2). The
tonal center is the lowest tone.
302
Who's Gonna Love You, Honey?
'Who's Gonna Love You, Honey?' Sung by Miss Doris Overton, of Green-
ville, Pitt county. Recorded at Durham in 1922.
F-308
^
^
:^
:±
* ^ -
Who's gon - na love you, hon - ey, when I'm a - way?
i
Who's gon - na stay and say sweet things ev
^
~^3
'ry day?
m
^
5
Who's gon - na look in - to your eyes di - vine? Who's gon - na
i=^3
j—jLj I ; j__^
^
*:
kiss those lips that I call mine?- Whose gon - na do those
h
fc=t
J r i' J' J'
I
^
^
M
things I've done for you? Whose gon - na love you when I'm gone?
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abab^cd (2,2,2,
2,2,2) = aa^b = mm^n = barform.
304
Like an Owl in the Desert
'The Owl in the Desert.' Sung by Mrs. Peggy Perry, Zionville, Watauga
county, March 11, 1915.
F-309
-J
g^^g^
±=iiz
tJ
Like an owl in the des - ert I'll — weep, mourn, and
FOLK LYRIC
217
cry; If— love should o'er -take me I sure - ly would die.
Scale: Mode III, plagal. Tonal Center: b-flat. Structure: aa^ (4,4). Circular
Tune (V).
305
The Lonesome Dove
The Lonesome Dove.' Sung by Mrs. Joseph Miller, ZionviUe, Watauga
county, about 1922. Parts of our text can be found in SharpK 11 197, No.
147 and in OFS iv 39-40 where, besides additional stanzas, the missmg Imes
of the second and f^fth stanzas can also be found. Another source for this
is JAFL XXV 276, second stanza.
F-310
:a
^£
^^^
^
One day while in a lone -some grove Sat o'er my
-^v
i^sfc:
^^^
head
Ut
tie dove; For her lost mate be - gan to
^
i
I
too.
coo. It made me think of my love,
For melodic relationship cf. **JAFL xlv 83 and FSSH 267-8, in both
the first four measures with our first two.
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
307
I Love Little Willie, I Do, Mamma
'Don't Tell Pa.' Sung by Miss Jean Holeman, Durham, 1922.
have
F-311
:t^=
new sweet-heart, I have, mam - ma, I
--V
W
have a new sweet-heart,
ha,
ha, ha.
2l8
NORTH CAROLINA FOLKLORE
i
t
have a new sweet-heart, but don't you tell Pa, For you
?
I
know I can't helo it; now can I Ma?
For melodic relationship cf. ***BTFLS in 96, No. 4; **SHF 10; PTFLS
VI, 227, the last three measures; *SHP 34; ABFS 327; EAS No. 32. The
idiom of the second and fourth measures can also be found in F-312 and F-
3^3-
Scale: Hexachordal. Tonal Center: d. Structure: abac (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
'Sweet Willie.' Sung by Carl G. Knox at Trinity College, Durham, between
IQ22 and 1924. Another title given is: 'Don't Tell Pa.' Our text is very
similar to that in EAS No. 32. Our melodic rendition manifests a rather
strange mixture of 'tonal thinking.'
F-312
:fr
I love sweet Wil - lie, I do, mam -ma,
love sweet
=K
Wil - lie, I do, mam -ma,
-^
love sweet Wil - lie, but
£Ep
" don't you tell pa - pa, for he won't like it you know. —
Scale : Heptachordal, plagal. Tonal Center : c. Structure : abed (2,2,2,2) ;
all phrases, however, have something in common. Unusual beginning on II.
The tonal center is the highest tone.
'Don't Tell Pa.' Anonymous singer. Neither place nor date are given.
Another title given is 'I've Got a New Sweetheart.' This version is very
closely related to F-311.
F-313
^^^=n
2. I'm goin' to be mar - ried, ha, ha, ma - ma, I'm
FOLK LYRIC
219
m
to
be mar - ried, but don't you tell pa, I'm
^
^=
to
be mar - ried, ha, ha.
ma - ma,
For
^
— 9
ma?
how can I help it, how can I, ma
For melodic relationship cf. *'*BTFLS iii 96, No. 4.
Scale: Hexachordal. Tonal Center: d. Structure: abab^ (2,2,2,2) ^ aa^
(4,4). The tonal center is the lowest tone.
309
Poor Married Man
'Poor Married Man.' Sung by Alexander Tugman at Todd, Ashe county,
in 1922.
F-314
i
it
m
m
w^
You may talk of the joys of the sweet hon-ey-moon;
m
They are nice,
Fll
gree, while they last; But al
i
S
most ev - 'ry case they're done too soon And num-bered
i
8=*:
^
i
-s>-
with the things of the past. The trials and the trou-bles are
S
1
soon to be - gin; Al - though you may do what you can,
220
NORTH CAROLINA FOLKLORE
i
i:
^
You'll wish you were out of the clat-ter and the din That
*
m
s
i
fol - low the poor mar - ried man. With the rack - et and the
5
S
muss and the trou - ble and the fuss, His face all
N:
hag - gard and wan, You can tell by his clothes wher
I
5
ev - er he goes That he
a poor mar - ried man.
Scale : Hexachordal. Tonal Center : d. Structure : abacabdc^abdc^ (2,2,2,
2,2,2,2,2,2,2,2,2) = aa^abab (4,4,4,4,4,4). The tonal center is the lowest tone.
A(I)
'Poor Married Man.' Sung by Miss Mamie Mansfield, at Durham, about 1923.
Line 5 in our version differs from that of the A version.
F-31S
n .^ .^L^ .^-^'' .^ I JF
^
^
it
You may talk a - bout the joys of the sweet hon - ey-moon;
*
^
^
They are nice, I'll a - gree, while they last;-
But
^m
i
^
i
al - most ev - ery case they're done- too soon And num-bered
^=P^-^
£
^
with the things of the past. — When trou-bles and sor - row are
FOLK LYRIC
221
m
iF=N
PE^
3E
^^
^
sure to be - gin; Al - though you may do what you can,-
i
I- 1' I i' J^
fe:
^
J' ^' I J^ J^ ;:-^
You'll wish you were out of the clat - ter and the din That
^^
^
*E^
^
fol - low the poor mar - ried man. — With the rack - et and the
^
5
and the trou - ble and the fuss, His face — all
fe=^
j^-^^^
:^
?^
hag - gard and wan — You can tell by his clothes wher ■
I
ev - er he goes That he is a poor mar - ried man. —
Scale: Heptachordal, plagal. Tonal Center: d. Structure: aa^aa^aa^ (4,4,4,
4.4.4)-
'Poor Married Man.' Sung by Miss Beulah Walton, Durham, 1923. The be-
ginning is the same as 'Old Kentucky Home.'
F-316
W
^^^
It gives him the blues when they're cry - ing for shoes,
^=?-
--A ^
zt
^
Tho' he does the ver - y best that he can. You can
m
^
^
tell by his clothes ev - ery- where that he goes That
222
NORTH CAROLINA FOLKLORE
J'U. i i'"^
^ • — ^
he is a poor mar - ried man. With the rack - et
^
^
*:
1
and the muss and the trou - ble and the fuss, His
*=t
^
^
face all hag-gard and wan, You can tell by his clothes wher^
I
Se£
— r^ 1 * 1 —
ev - er he goes That he
Scale : Pentachordal. Tonal Center : c.
tonal center is the lowest tone.
is a poor mar - ried man.
Structure: aa^aa^ (4,4,4,4). The
310
The Black-Eyed Daisy
'The Black-Eyed Daisy.' Sung by Miss Jennie Belvin, Durham, in 1920 or
1921. This tune presents an interesting phenomenon: two different singers and
two different songs. And of all the different versions of 'The Gypsy Laddie,'
(IV 84-91) there is one which uses the almost identical melodic line as our
present song. But what a different use of the same material ! Cf. IV 84-5, No.
37B. For textual reminiscenses cf. Ill 340, No. 286B, last line of first stanza
and 286C, last line of chorus ; also JAFL xliv 424.
F-317
^
^
Send for the fid - die and send for the bow,
^
ifclfc
:^
Send for the black -eyed Dai - sy. Don't reach here by the
^
^
me
mid - die of the week. It's
al
— V —
most
zy,
Al - most run me
FOLK LYRIC 223
Scale: Mode III, plagal. Tonal Center: d. Structure: abacc^ (2,2,2,2,2).
3"
Black-Eyed Susie
B
'Black-Eyed Susie.' The recording is unintelligible.
312
A Housekeeper's Tragedy
'A Housekeeper's Tragedy.' Sung by Obadiah Johnson, Crossnore, Avery
county, July 14, 1940. For a similar idea cf. FSE iv 30-1. The use of the
tonal material is interesting. The first measure is inverted in the second,
and the latter form, in a sequential pattern, serves again for the beginning of the
chorus.
F-318
Is
fiE^
i
i:
One day as I wan-dered I heard a com - plain - ing
=g^=^
^
And saw a poor wo - man, the pic - ture of gloom.
w
h
W
*:
^
— N-
She glared at the mud on her door - step-' t was rain - ing-
I- I I , ■> I =a:
^
3^^^^3S^
^
And this was her wail
1^ ^^^
she wield - ed her broom : 'Oh,
?
lE
life
toil and love
trou - ble And
beau - ty will fade and rich - es will flee;
And
224
NORTH CAROLINA FOLKLORE
^
plea - sures they dwin - die and pric - es they dou - ble,
I
^
i^
And noth - ing
^
^
is what I would wish it to be.'
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aaba (4,4.4.4) ~
Reprisenbar.
313
Kissing Song
'Kissing Song.' Sung by J. T. C. Wright, Appalachian Training School,
Boone, Watauga county, in 1922. The text extracted from the recording
differs somewhat from the printed version in III 369.
F-319
i
She gave me kiss - es one, kiss - es
one,
She
m
i
~~v —
She
gave me kiss - es
one,
kiss - es
ib*
^
^
gave me kiss - es one And she said 'twas well be - gun;
t
§
IT-
And we kept kiss - ing on, kiss
For melodic relationship of. ***OFS iii 90.
ing
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aa^b
= barform.
314
My Mammy Don't Love Me
'My Mammy Don't Love Me.' Sung by Miss Pearle Webb, Pineola, Avery
county, about 1921. Cf. also JAFL xxviii 184.
FOLK LYRIC
i
225
F-320
w
i
W
2. Come here, hon - ey, tell me what I've done,
H2:
^
^^
m
Come here, hon - ey, tell me what I've
done.
I've
i
^
^
killed no - bod - y, I've done no hang - ing crime,
^
^^
m
I've killed no - bod - y, I've done no hang -ing crime.
Scale: Tetratonic (4), plagal. Tonal Center: a-flat. Structure: abcb (3,3,
3,3) ; a and b have the same initial measure; c is related to a.
316
My Mammy Told Me
'My Mammy Told Me.' Sung by Miss Fronde Kennedy, Durham, between 1920
and 1922. Our version is practically identical with the Sutton version
(316C). The minor differences are given under variations. Cf. I 197. Textual
differences can be found by referring to the two versions in III 370.
F-321
^
£
^
J- J. —
My mam - my told me long years a - go, 'My
l¥
-=1^
E
^
son, don't you mar
m
ry
— ^-----
no gal you know. She'll
^
w
s
E
spend all your mon - ey, wear out your clothes, And
f
^^^
*=*
what will
3^^^
be - come of you the Lord on - ly knows.'
226
NORTH CAROLINA FOLKLORE
7-8 1 2 14-15
-^
:1'^=t
d. 4
I
Scale: Hexachordal. Tonal Center: c. Structure: abab (4,4,4,4) = aa (8,8).
The tonal center is the lowest tone.
319
The Garden Gate
'Just Down to the Gate.' Sung by Miss Pearle Webb of Pineola, Avery
county, in 1922. For other versions and similar ideas cf. JAFL xxix 177 and
VTWL 40, No. 69.
F-322
i
'n
S
^
e^
Just down to the gate, — dear mam - ma,-
Just
fe
-N— #-
?
^
down to the gar - den gate. — The moon shines bright and
I
11^
-N N
^
^
such a nice night, I'll just go down- to the gate. —
Scale: Heptachordal, plagal. Tonal Center: d. Structure: abed (2,2,2,2).
320
Susy Gal
'Susy Gal.' Sung by Miss Beulah Walton, Durham, July 24, 1923. The melody
reminds one very much of 'Little Brown Jug.'
F-323
m
^.p^-
.^^^
=^
=^
^
^
-r-
— *
— •
-^
Su - sy licked the la - die An' 'er dol - ly rocked the
iHr^^N
--j^-^
^ ^ .^ / ; r-
— •
--^ — &
--i i ^:--^. 1^
— '
era - die. Good - bye, Su - sie gal, I'm gone
gain.
^^
£
^
-#-
I fell in the gut - ter and my heart be - gan to
FOLK LYRIC
ter. Good - bye, Su - sie gal, I'm jrone a - gnin.
Scale: Hexatonic (2), plagal. Tonal Center: d. Structure: abab (2,2,2,2)
= aa (4,4). The tonal center is the highest tone.
321
JOSEPHUS AND BOHUNKUS
'Old Grimes Is Dead.' Sung by Miss Zilpah Frisbie of McDowell county;
recorded in Durham, July 24, 1923. For different textual versions cf. BSM
259; JAFL XXVI 125-6 and Texas FS 224-5.
F-324
:&
i
iS:
W
^
Old Grimes
is dead, that good old man; We
^
J-'j'i-J. J^
^
ne'er shall see him no more.-
He used to wear
^
1^— >
^g5^
i£
?
loTig - tpiled coat
Ail-
but - toned down be - fore.-
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
322
Leather Breeches
'Leather Breeches.' Sung by Miss Pearle Webb, Pineola, Avery county, in
1922. A song by the name of 'Leather Britches' can be found in Ford 48.
For another version cf. also DD 134.
F-325
^-
2^
U^=^=^=^
B-4r-
I went down to town And I wore my leath-er breech - es.
^
-ic ^ ^-
^
:^
-r—i—t
I i"onld-n't see the peo - pie For look-ing at the peach - es.
Scale: Mode III. Tonal Center: c. Structure: ab (4,4). The tonal center
is the lowest tone.
228
NORTH CAROLINA FOLKLORE
Kindling Wood
'My Name is Dinah, From South Carolina.' Sung by R. D. Ware of Al-
bemarle, Stanly county; recorded at Trinity College in 1922. Our version,
conforming to version B, has no chorus ; the missing line of the printed version
was recovered from the recording. Cf. also JAFL xxxiii 127. „ ,
*:
^
My name is
Di
nah From South Car' - li
na,
T
m
s
^3?
And I'm sell - ing kind -ling wood to get a - long.
i
^
5t
And won't you buy some, Oh, won't you buy some,
I
^
S
^
For I'm sell - ingr kind - ling wood to get a - long.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abab (2,2,2,2) =
aa (4,4).
326
River's Up and Still A-rising
'River's Up and Still A-Rising.' Sung by Miss Mary Barbour of Raeford,
Holt county, in 1922. Interesting wanderings of an idea; cf. Ill 134-5, No.
98. Melodically the beginning reminds one very much of the night watch-
man's song in Richard Wagner's Mastcrsingers. p,
r" -327
^^ — ^^ — ^^ — ^
1 — s — s —
7^-^--^ — ^ — J [^
— ^ — ^-
— \
-f—
—f—
— « —
— • 0 —
C) 4 *^ — ^- — ^-^
9
f < •
— U' —
— fv—
— ^ —
— ^ ^
V
— * — ^^
Riv-er's up and still a - ris - ing; Just got back from a
^
M:
^
A-t
t3t
ne - gro bap - tiz - ing. Fare - well, — moum-ers, fare - well,
:fc-fe
^
^
:|v
^
mourn - ers,-
Good - bye,- I'se gwine- to leave you he - hind.
Scale: Mode III. Tonal Center: d. Structure: abcc^cS (2,2,2,2,2). The
tonal center is the lowest tone.
IX
SATIRICAL SONGS
328
The Carolina Crew
'The Carolina Crew.' Sung by Miss Jean Holeman, Durham, in 1922. Cf.
also SharpK 11 6-8.
F-328
I lived a - long with the Car - o - li - na crew.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: abed (4,4,4,4).
There is some relationship between the individual phrases, however.
329
Cumberland Gap
'Cumberland Gap.' Sung by Lamar Lunsford, Turkey Creek, Buncombe coun-
ty, probably in 1921. For additional versions cf. SRA 82-3 and ABFS 274-5.
This stanza Lunsford received from Herman Houck of Allegheny.
F-329
^
^
3. Cum - ber - land Gap's no
gap
at
all.
230
NORTH CAROLINA FOLKLORE
I've
been shot with
can - non
baU.
For melodic relationship cf. **FSSM 52, general melodic line in direction
only.
Scale: Mode III, plagal. Tonal Center: g. Structure: ab (2,2).
331
Arkansas Traveler (ii)
'Arkansas Traveler.' Simg by Dr. I. G. Greer, Boone, Watauga county,
between 1915 and 1916. Compare this tune with our two versions of the
ballad 'Charles Giteau' (IV 288-9, No. 249). Measures 1-4 and 9-12 of the
anonymous version G are identical with those in this song. Likewise measures
7-8 and 9-12 of the Bostic version C are closely related to the same in this
song. For additional texts cf. OFS iii 27-9; Texas FS 226-7; CS 283-5;
FSS 239-41; SharpK 11 238; FSmWV 87; EAS, No. 14; and FSUSA 240.
n
N
F-330
y 1 0
1 1 '
I 1
: ' i
• b ^
1
0
»
^
^ :
fr^'^ '>
J
sJ •
«
r , w m g
\<) z ^
i ■
«
•
^
1 1
tJ -#-
'
My name is Sant - ford Barnes, I came from Lit - tie Rock
town, I've trav-eled this wide world o - ver, I've trav-eled
r=^
I^
this wide world round; I've had man-y ups and downs, Through
^
Ufe bet - ter days I've saw. But I nev - er knew what
m
^
I tj
mis - ry
TiU
came to Ar - kan
For melodic relationship cf. ***TAFL 316; *BTFLS xvi. No. 3 (first
two measures only) ; Texas FS 226-7 (measures 1-2 and 9-10).
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abab^ (4,4,4,4).
SATIRICAL SONGS
231
'A Traveler in Arkansas.' Sung by G. S. Robinson, Asheville, August 18,
1939. Another title given : 'The Man from Arkansas.' The singer slightly
varies the text given in III 384. With the exception of a Valse-refrain found
there, our melody is practically identical with that of F-369.
F-331
3
=1:
^
2. The day I land - ed in that state one sul - try af - ter ■
:n=F
5E
£te^J^
^
^
noon, 'Twas a- bout the mid -die of the sum- mer-time, a-
-N N-
:i=
bout the tenth of June. Up stepped a walk - ing skel - e - ton
t^=:t^
^
with a lean and Ian -tern jaw, He in - vit - ed me to
f
^
9 0 1 ^
his ho - tel, the best in Ar - kan - saw. The
best
i
^
Ar - kan - saw, the best in Ar - kan - saw, He
^
w
^
I
-1 — J-
-0-' '
1=
vit - ed me to his ho - tel, the best in Ar - kan - saw.
Scale: Hexachordal. Tonal Center: c. Structure: abcdaibefad^eifi (2,2,2,
2,2,2,2,2,2,2,2,2) = aba^ca^ci (4,4,4,4,4,4). The a^, in its last two measures,
is considerably varied. The tonal center is the lowest tone.
332
Hard Times
'Hard Times.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
in 1921 or 1922. The tune for the second stanza goes for all other five-line
stanzas. The a^ preceding a^ merely should indicate that a^ is more varied
232
NORTH CAROLINA FOLKLORE
than a^ which it precedes. The second stanza shows an ingenious use of the
material of the first. Counting the succession of measures as compared to
the first stanza, we have (either in varied form or transposition) : measures
1-2; lo-ii; 7-8; 6-7; and 13-14. For additional versions cf: BTFLS xix-xx
89, No. 4, BSSM 443-5, No. 184; and CS 103-5.
F-332
:&
^
^
Come all ye young .peo - pie, I'll sing ye a
song
l^
tJ
Which is not ver - y long, How ev - ery - bod - y
^
J. i i I r-r-^
try - ing to
trade-
And cheat - ing each oth - er, I
E±
5=i=
-0 •— — #-
I J I
-0- ^ -0-
can - not tell why, From fa - ther to moth - er and
t
^=*
sis - ter and broth - er And cou - sin and kin - folks are
9
^
axT^ij;
-• — 0 — #
cheat-ing each oth - er. And it's hard, hard, hard, hard times.-
Stanza 2
fe
N Pv-
feF^=g
^^
-^i i. i
There's the old black-smith I'd like to've for - got; I be-
^ * <5>-
lieve in my soul he's the worst of the lot. He'll
i
w
^ d
^^-^
^. 5t
, shoe your hors - es and sharp - en your plows And at the
SATIRICAL SONGS
233
^^
■<g- eJ
3i=i
i
-0- -&-
end of the year he'll drive off your cows. And it's hard, hard times.
Scale: Hexachordal. Tonal Center: c. Structure: abccide (2,3,2,2,2,3). The
tonal center is the lowest tone.
'Hard Times.' Sung by Miss Pearle Webb, Pineola, Avery county, in 1921.
According to the recorded version, the notation in the MS score was changed
considerably. The text to the last line cannot be understood.
F-333
^
3:
33
^
^3^
"^im
aa
^
real - ly do be - lieve it's for the sake of
^
^
^
1
old times They starve the wo - men and the chil - dren
E£3
^=?
^
^=^^^
out of
^
^
bed, And it's hard times, hard times. And the
i
^^
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,4),
335
Twenty (Forty, Sixty) Years Ago
'Twenty Years Ago.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 1921. For additional text cf. OFS iii 251-2, No. 486.
F-334
te
:±.
^ '—
2. Ah, well do I re-mem-ber the Wil - son pa -tent stove
fcr
i
5
That fa - ther bought and paid for with cloth the girls had wove,
234
NORTH CAROLINA FOLKLORE
te?:
^
=s=t
i:
And how the neigh - bors won - dered when we got the
=i2^r=^
t^
1^
i
t
thing to go; They said t'wouldbm-st and kill us all, some
fcr
^
!±
tr.
twen - ty years a
go.
Just twen-ty years a - go, just
fcr
^
f=^
^
twen - ty years a - go
La
la la la la la
ft> J t-=^
EE^£
^S^:^
la
la la la La la la la la
la la la
fcr
?
li
?
i^
la la, Some twen - ty years,— some twen - ty years a - go.
For melodic relationship cf. **OFS iii 252, No. 486B.
Scale : Heptachordal, plagal. Tonal Center : a-flat. Structure : abcdefg
(2,2,2,2,2,2,2).
'Some Twenty Years Ago,' Sung by Mrs. Ewart Wilson, Pensacola, Yancey
county, September 1929. Although most of the stanza and part of the chorus
are identical with F-334, the differences justify quoting the whole song. For
additional versions cf. OFS iv 394 ; NASb 38 ; the latter attributes the
song to Tom Moore.
oitil
N
N
F-33S
ytfi*^ 4
P
j
|N
^
1
■/^ P T" J
J ^
^ N J
^ • -' ' K \ ^ •
fr\ 'r, A *
* ^
N •
s
^
^■ -
\^) '+
J ."^
m J
^ • ^ '
Ah, well do I
ott It ^ - '
re-mem-ber
The Wil
- son
pa - tent stove
y .iiiff! r
^ r
l^ p
,^
[S
N ^
/ Vi d
1* ' J^ J
j^ p 1
J J
1 1^
(c\ '
1 • » •
• 1
0 • •
J 1
\^)
-4^
-1 — U L_
-^ * 4 •
That fa - ther bought and paid for with cloth the girls had wove.
SATIRICAL SONGS
235
-Nr^J
^
^
5
And how the neigh-bors won - dered when we
got the
^
— fS— A f
it
thing to go; They said 'twould bust and kill us all, some
if
twen - ty years a - go. Some twen - ty years a - go, some
E
^
^
=^=!^
twen - ty years
go,
The- men and the boys, the
:^
?
--^
girls and the toys They work and they play both the
=r
night and the day, And the world and its ways
ifc
I
^=^-
^f^=f
S-ale:
2,2,2,2)
are all turned round Since twen - ty years a - go.
Heptachordal, plagal. Tonal Center : a. Structure : abcdeff^ (2,2,2,
337
When Young Men Go Courting
'When Young Men Go Courting.' Sung by Mrs. Myra Barnett Miller,
Lenoir, Caldwell county, in 1936. As so frequently, our melody demands the
complete text given in the two stanzas of the version presented in III
394. For additional texts cf. SharpK 11 205-6; FSF 157-8. For a related
text cf. BSSM 441-2, No. 183.
F-336
^W
i
ih
:&
When young men go court-ing They dress ver - y fine. For
236
NORTH CAROLINA
FOLKLORE
yr: N
S N ^ . N
•I r r m F I
*>
fj _] J J ! • r 1 )
ft ^ ^ • • L/
-»
n ! i^ ,
^
teas -
ing young girls Is their on - ly de - sign. They'll
yjffnm - l'^ .'"^ l■^ 1
/ ^' h r
_ .. p _ m _ __ L
f(\ Q \j !■ 9 m • 1
^ 1^ i"*^ J J
\s) rt V
^ J 1
* •
tit
^ « • «
- tie, they'll tat - tie, They'll laugh and they'll lie. They'll
yr! 1\
K S S N .
u
/l p
•' fv K S, 1
irh J « « J « J
v^; • • • • • fi
ia_j J ,' — j-, — 1
keep the girls up Till they're read - y
to
die.
Scale: Mixolydian. Tonal Center: d. Structure: abed (2,2,2,2). There is
some relationship between c and a as well as d and b. The tonal center is the
lowest tone.
337(0
'When Boys Go A-Courting.' Sung by Mrs. Ewart Wilson. No place or date
given.
F-337
±1
^^^
S
?^^
it
^
The boys dress up and they try
to look fine, They
9
^
^
W^
5t=iC
court the young girls with all their de - sign. They go
to
1
their homes and there they will stay. And keep the girls up till
, Chorus
W
^ ' ^
al - most day. That
m
-0-^
^
girl— That
girl.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aba^bcc^ (2,2,2,
2.2,2) = aa^b (4,4,4) = mm^n = barform.
Second stanza:
The girls begin to sigh and say
'Boys, oh boys, why don't you go away?
You are so conceited ------
But before you get home you'll sleep in some barn.'
SATIRICAL SONGS
237
Third stanza :
You'll wake the next morning- in great surprise,
Brushing off straw and rubbing your eyes.
You'll mount on your horse and away you will ride
Just like some poor fool trying to hide.
Fourth stanza:
And when you get home you'll stagger and reel.
Don't tell the poor girls how bad I feel.
If this is high courting, I'll court not at all;
I'll live a single life and keep bachelor's hall.
338
Johnson Boys
B
'Johnson Boys.' Sung by Mrs. M. M. Sutton, Lenoir, Caldwell county. No
date given. For a somewhat related text cf. OFS in 12-14, No. 342.
F-338
i
XT
1^
^
=iJr
:2:
^
i
ia:
John - son boys they went a - court - in'; John - son boys
^
^
*
they did - n't stay; The rea - son why they did - n't
stay,
^5E
=^
=S=
=^
=*=
fi
h
N —
1
^) 0
#
0
y
— i '
They had no mon - ey fur to pay their way,
i
I
¥
^
1
They had no mon - ey fur to pay
For melodic relationship cf. ***3i FSSM 56.
their
way.
Scale: Mode III, plagal. Tonal Center: f. Structure: aa^a^bb (2,2,2,2,2).
Circular tune (V).
B(I)
'Johnson Boys.' Sung by H. Wiseman, Upper Hinson Creek, Avery county,
August 26, 1939.
F-339
±-'4 f f f — j^-j^—j^-!^ — r — r-w—, —
John - son boys they went a - court - in', John - son boys
238
NORTH CAROLINA FOLKLORE
^
^
i
they did - n't stay; John - son boys they went a - court - in',
^
?=?=t=
4v
Had no mon - ey to pay their way, Had no mon - ey to
=r=l^
I
^
^z.
^
^
pay their way, Had no mon - ey
For melodic relationship cf. ***FSSM 56.
to pay their way.
Scale: Mode III, plagal. Tonal Center: f. Structure: aaiabb^b^ (2,2,2,
2,2,2).
340
The Wood Hauler
There is no recording of this song available, but Bascom Lamar Lunsford gave
this editor, while visiting him at Chapel Hill, May 3, 1953, another stanza:
My fiddle being willing
My arm being strong
I played the 'Grounds of Louisville'
Four hours long.
For the last two lines refer to the sixth stanza of the A version (III
398).
341
Walk in the Parlor
'Young Folks, Old Folks, Everybody Come.' Sung by Mrs. W. L. Pridgen,
Durham, July 25, 1923. For additional texts cf. TNFS 182 and FSoA 104
(chorus). Although it is a common characteristic for a folk song to hide, so
to speak, the tonality at the beginning of the song, this version goes out of
its way to do so for an entire eight measures.
F-340
^
^
^=*
A - dam was the first man ev - er was in - vent - ed. A -
^
long came Eve and he was con - tent - ed. A - long came old
SATIRICAL SONGS
239
No - ah, fum-bling in the dark, Grabbed up a ham-mer
and he built him - self an ark. Young folks, old folks.
^^
S
=15:
i
^
_K « -0
ev - er - bod - y come, Come join the Sun -day School and
ts fv
make your- self at home. Please check your chew - ing gum and
=1^
— fv-
^
^
S
at
the door. And you'll hear more Bi - ble
:1!^
=1^
^
sto - ries than von ev - er
Scale: Hexatonic (4), plagal. Tonal Center
(2,2,2,2,2,2,2,2).
heard be - fore.
f. Structure : abacaib^a^cl
'Walk In the Parlor.' Sung by Miss Laura M. Cromartie of Garland, Samp-
son county. No date given. Our stanza is incomplete. Musically, one would
expect the melodic phrase of the second line of the first chorus to be repeated
for the third line, which is practically identical. But here agam, the music
does not conform to the text. There is, however, some logic, insofar as the
fourth line rhymes with the third. Accordingly, the two melodic phrases
match this design. The text of the second chorus follows more the normal
scheme since the third line, with which the fourth line rhymes, does not re-
peat the second line as in the first chorus. Incidentally, the melody of the m-
complete stanza serves with but negligible variations for the first two lines of
the chorus, which have the same rhyme pattern. Whereas the text of our
stanza is totally different, our chorus is identical with that in TNFS 182.
Our stanza has the same text as the last two lines of the first stanza of III
205, No. 156. There is no musical relationship, however. For the text of the
cho'rus refer also to MSON 71 : 'De History ob de World.'
F-341
-^ 1=:^=
The creeks all mud-dy, the ponds all dry, 'Twas-n't for the
240
NORTH CAROLINA FOLKLORE
m
:c=f— r-*-
J tad - poles we'd all die. Walk in, walk in, walk in, I say,
'^z
^
Walk in de par - lor and hear de ban - jo play;
S
W
Walk in de par - lor and hear de ban - jo ring,
4^
^
Watch a nig - ger fin - ger while he picks up - on a string.
Scale: Mode III, plagal. Tonal Center: f. Structure: aba^bcci (2,2,2,2,2,2)
^^ aa^b (4,4,4) = mmin = barform. This is another case where the text
and tune do not conform structurally. The second 'Stollen' is here the begin-
ning of the chorus.
'Adam and Eve.' Sung by Doyle Pruitt. No place or date given. Com-
pare TNFS 182 for similarities of texts. The words to measures 5-6 are not
too certain.
F-342
^
A-
Oh
A - dam was the first man that ev - er was in-
ZttX"
H
N-
N—
1
— ^-n
— 1 —
— fv—
N
#i=^
— 1 —
— ^ — J —
— • — 1
— s —
— 0
— •
— • —
— t —
— • —
1
— 0
vent - ed. He lived all a - lone and he nev - er
^^r^-r-^-^
~7T?=
^ ■- ^ " ^ — p^ — ^^ — ^H
^^_j — 0 — ^ — x:
1^ 0
¥ ¥ ¥ 0 *' J
was con - tent - ed. He made out a mud house and he
\y |^ N
» — 0 — • — • — j r — •■
i
m
±=i:
placed it on high. Hung on de fence for de sun to dry.-
Scale : Hexatonic (4), plagal. Tonal Center: a-flat.
Structure: abac (2,2,2,2) = aa^ (4,4); c is slightly related to b.
SATIRICAL SONGS
241
Second stanza:
Along came Eve, and Adam had a battle,
Reached up a tree to get an apple,
She got two and him one.
Ever since then all the trouble begun.
342
Preacher in the Pulpit
'Oh, Lordy, Come This A-Way.' Sung by Miss Luna Weaver, Piney Creek,
Alleghany county, in 1922. Our title is closely related to that of F-ioi (III
134-5, No. 98), which constitutes also the larger part of the chorus as well
as our last four lines. Our fourth line is the first of the fifth stanza of the
latter song. Melodically, our first four measures are practically the same as
those of the above mentioned 'Oh, Lovely, Come This Way.' Cf. also OFS iii
230, No. 469B.
F-343
1^
^^
Preach - er in the pxd - pit, Bi - ble in his hands.
J^ J' : /
Preach - er
in the pul - pit,
-^ z N-
Bi - ble in his hands,
fc:
Preach -er in the pul - pit, a Bi - ble in his hands;
Dev - il in the meal
— 9 —
sack.
S
^
shak - ing out bran.-
3
-^» — =V-
?=^
Oh, Lord - y, come this a
way,-
Oh, Lord - y,
^^^
come this a - way, —
z^
Oh, Lord - y, come this a - way.
i
Nev - er let the dev
-^ ' '- ^^^^yrr
take yon a - way. —
242
NORTH CAROLINA FOLKLORE
Scale: Tetratonic (2,4), plagal. Tonal Center: f. Structure: aabcaabici
(2,2,2,2,2,2,2,2) = aba^b^ (4,4,4,4). Observe that all sub-phrases but two
have the same ending. Circular tune (V).
346
Jonah and the Whale
'Jonah and the Whale.' Sung by R. A. Sw^aringen of Kannapolis, Cabarrus
county; recorded at Trinity College, Durham, in 1922. The penultimate meas-
ure proves again the psychological phenomenon that under emotional stress,
when words alone do not suffice, the 'Allelujatic' outburst of old appears again.
For the text of the chorus cf. SSGSI 152-3; for that of the stanza: MSON
177 and OFS 11 368-9 which was erroneously given in III 406 as OPS in.
F-344
^E^
for three long days and three long nights Jo - nah '
*:
^
lay in the bel - ly of the whale. Spewed him up in a
j=-^N
sand - y place. The sun was
shin - in' right-
^=^-
down in Jo - nah's
i
face.
9
Well,
a gourd vine
^
r=i=
w
growed up an' a - roun'. A - long came a lit - tie worm
m
s
f^
i
and cut him down. Now, was-n't that a cross on Jo-nah's
Shiver
3
w
^
lit - tie crown?
Liv - ing hum - ble, hum
ble.
SATIRICAL SONGS
243
-N-N-
m
t
-i^— IV:*
i
=r=^
*^^
s
^
hum - ble, Liv-ing hum - ble all - - - - all your daj^s.
Scale: Mode III. Tonal Center: b-flat. Structure: aabaiaScdeei (2,2,2,
2,2,2,4,3,3) = mmnmim^nioppi = bar plus bar plus inverted bar. There is,
throughout, more or less relationship between the several phrases. The tonal
center is the lowest tone.
'Jonah and the Whale.' Sung by Alexander Price, Alliance, Pamlico county,
in 1927. Our entire stanza is practically identical with the second half of
stanza 3 in MSON 177. Likewise our chorus. It is, however, somewhat
diflerent from that given in III 406, No. 346C. Compare also OFS 11 368-9
for the last stanza and part of chorus.
F-345
te
^
V-
i
Old Jo - nah like a fool He got as stub - bom
1^ ^ N-
MJ ; /
as a mule! — But the whale made him quick - ly dis - ap ■
:^==^
pear.
He
took out his raz - or And he cut the
^^^:-
whale in two; And he float - ed to the shore on his
N---«
ear. Hide a - way, hide a - way, For there ain't no use to
:t^
it
hide a - way! Put your bag -gage on the deck. And don't for-
i
^
¥
* * J
get your check, For you can't stay in the boat and hide a - way.
244
NORTH CAROLINA FOLKLORE
Scale: Pentachordal. Tonal Center: g. Structure: abcb^ (4,4,4,4). If
one wanted to subdivide still more, he would find a series of barforms : mm^n
oopqqroop (1,1,2,1,1,2,1,1,2,1,1,2). The tonal center is the lowest tone.
No title given, except a secondary one : 'A Whale Swallowed Jonah.' Sung by
Miss Eura Mangum, Durham. No date given. Cf. the fifth stanza of RAS
83-4 ('Peter on the Sea, Sea, Sea, Sea'). The style of the final cadence
recalls the 'Mammy' of Al Jolson's days.
F-346
^
-J ^.NJ i
:2^
A whale did, a whale did, a whale did swal - low
-7^
J.
Jo - nah, A whale did,
a whale did,
=|:
i£
whale did swal - low
Jo
nah,
i
s
:5t
whale did.
a whale did.
A whale did swal - low
i£
^
J.
J. . Jo - nah.
whale did
swal
low
1^
3
fe:
I
Jo - nah, A whale did swal - low Jo - nah down.
For melodic relationship cf. **RAS 83-4; RFSN 88-9.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aa^abbi (4,4,4,2,4).
347
Jesus Lover of My Soul
'Jesus Lover of My Soul.' Sung by K. W. Litaker, of Cabarrus county;
recorded at Trinity College, Durham, December 5, 1919. The singer's mother
still lives in this county between Kannapolis and Concord.
m
SATIRICAL SONGS
F-347
-J-J-^
Je - sus, lov - er of my soul, Set me on top of
" ' ^ -I r 1
^
5i^
tel
gram
pole.
When
dat
pole
be-
I
gins to break Take me down for Je - sus' sake.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
349
Lord, I Never Will Come Back Here No Mo'
'Lord, I Never Will Come Back Here No Mo'.' Sung by Miss Jewell Robbins,
Pekin, Montgomery county, July 1922. Our first two lines are almost
identical with those found in OFS rv 95 ; See the note there. The same holds
true of SharpK 11 292, No. 209.
F-348
^^
3
Some of dese days
bout twelve o - 'clock, Dis
-9-p — . ^ ^ ,
y hh
K
>
1
K
1 ^
s
i^
tc^^^ J
r
f\_
i ^ p
J
\y\) m
J
•'
•
J
< 0
fj
-#-
^
^
old worl's a gwi' reel and rock. Lawd, I neb - er
-M ^ : ^
~F ^ 1
• b u
N
^
."*
«
1 1
((\^ 0 J 1 !
1 i <^ 1
\^) •
J
;
•
•
' 1 1
«J
-J-
'
will come back
an - y - more.
No
mo', Lawd;
i
m
F?^"?
Scale :
2,2).
No mo', Lawd; I neb - ber — will come back here no mo'.
Hexachordal, plagal. Tonal Center: e-flat. Structure: abcdc^ (2,2,2,
X
SONGS OF PRISONERS
AND TRAMPS
350
The Prisoner's Song
The songs contained in this series have been omitted in order to avoid any
and all so-called copyright claims. With all these claims of authorship and
copyright it is worth noting that a song with the words:
Meet me by moonlight alone
And then I will tell you a tale
Must be told by the moonlight alone
In the grove at the end of the vale.
was published in 1881. Cf. Our Familiar Songs, New York 1881, 374-5-
See also SCSM 346-51 and FSmWV 71-
351
Seven Long Years
'Seven Long Years.' Contributed by P. D. Midgett of Wanchese, Roanoke
Island, in 1920. For additional versions cf. SCSM 346; FSmWV 71-2;
BMFSB 54-5, and JAFL xxii 379.
F-349
r#=
^
^
• i^
moth - er —
have
fa - ther and
That
-yr
i\
N —
— ^~
s
1 ^ "f^
/I b
N
N
^
K^
\»
^ J
f f^n ^
P
fN
s •
J^
C^ '
•<
1 J *
\s\)
J •
S
1 0
t) -/
-0-
dwell in
cot - tage by the sea.
have
^=?F
i:
broth - er and a
sis - ter.
-J- ' V. V' ^ '
I won - der if they
3
nt
^E^
ev - er think of me.
Sad, sad and lone - ly,
^=^
SONGS OF PRISONERS AND TRAMPS 247
-N ^ N-T I I N N — :5r
^
^
Sit - ting in
cell all a - lone.
Think - ing of the
^-
^
^~
days now gone by me And the time when I done wrong.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aa^bc (4,4,4,4)
:rz mm^n (4,4,8) = barform.
358
Tale of a Tramp
'Tale of a Tramp.' Ill 425, No. 358 gives the following : "Reported by L.
W. Anderson as 'sung by Mrs. J. A. White.' " Neither a ms score nor a
recording of this could be found.
360
The Dying Hobo
'The Dying Hobo.' Sung by C. F. Thomas, Rockingham, Richmond county.
No date given. For an additional version cf. OFS iv 360-1.
F-350
^
^# — *-
It was
a West - em wa - ter - ing town,
-p : ^
1 1 1 ■■ "■ 1
\y.^
i^
1 . , , 1 ! 1
' ^
r ^ ' ■
1
^
}LJ—
m
9
• \ \ '^ . m
^ • ^
fJ
9
0
»
^
On a cold No - vem - her
day.
Be
side
I
2±
north -bound box - car
2
dy - ing ho - bo lay.
-2^
For melodic relationship cf. *ASb 188, 'Wandering,' initial measure and
our first two.
Scale: Irrational (3,4), plagal. Tonal Center: f. Structure: ab (4,4).
XI
MARTIAL, POLITICAL, AND
PATRIOTIC SONGS
367
The Jolly Soldier
'Revolutionary War Song.' Sung by Qem Dorsett, Zionville, Watauga county,
March 15, 1915. The two stanzas given in III 437, No. 367A, are needed
for the tune as derived from the record. This tune presents a very fine
example for the intuitive freedom of the untutored mind in handling its material.
Observe the contraction of the first six measures into the four of the second
phrase. Observe likewise how the melodic material is nevertheless left in-
tact! For another version cf. WSSU 181-2.
F-351
^ — ^l ^^l>. I li II'-
4 H 1 H ^ N Nt 1 J 0^ 0-
I once was a sea - man stout and bold, Oft - times I
m
#*
^
^^^«). ^ ^* ' S • — 1^ — ^
plowed the o - cean, I plowed it all o - ver and
^^^
:^
S 0-
itt^
vef a - gain For the hon - or and- pro - mo - tion.
*:
i^^
board a man of war march - in'
7 ^ fj ^ / ^ h ^ ^' M f—
f
^ N —
^^ — ^ — ? — * — j^ j — j:^ — j^ ^ ^
1?"
-^^-^
Man - y be the bat - ties that I've been in. It was
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 249
^
:^
ifc
all for the hon - or of George Wash - ing - ton, And I'll
*:
^^^
i
sol
dier.
still be a jol - ly good old
Scale: Hexachordal, plagal. Tonal Center: g. Structure: abcb^ (6,4,4,4).
Circular tune (V).
370
Then We'll Have a New Convention
'Then We'll Have a New Convention.' Sung by Miss Jewell Robbins, Pekin,
Montgomery county, between 1921 and 1922. According to the structure of
the tune, the second stanza as given in III 441, No. 370, must necessarily be
the chorus.
F-352
m
-±-
Ka - ty, Ka - ty, don't you want to mar - ry? Your
N
^W=^
• li zirr—k
moth - er says you shall not mar - ry, Your moth - er
i
^^
^
says you shall not mar - ry Un - til we kill the
H 1 ^
J- J- J-
3=J=J=rf
tur - key hen. Then we'll have a new con - ven - tion
i
-^-^f
=5F=^
i
And we'll kill the tur - key hen;— Then we'll have a
^1
i
-5t-
new con - ven - tion And we'U have the rights of men.
250
NORTH CAROLINA FOLKLORE
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aba^cddM-e
(2,2,2,2,2,2,2,2) = aa^bbi (4,4,4,4). In the first analysis e is slightly re-
lated to a^.
372
Root Hog or Die
'Root Hog or Die.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, in 1921. The exceptional range of the melody should be noted; also the
extensive use of elision throughout. For additional texts cf. CS 254-7; OFS
II 318-9; OFS III 162.
F-353
:1t=^:
I'm just from the South for to tell you all the news. It's
i
¥
E
worth a half a dol - lar right square in my shoes. There
i
:f?
3
S
is - n't much dif-f'rence be - twixt you and I — Lit - tie pig,
big pig, root hog or die.
Chief cook and bot - tie
i
=t=:
s
wash - er. Cap - tain of the wait - ers, Stand up - on your
I
^#=^
— ^^^
head. Till you peel a bag o' ta-ters, And do jog a - long.
For melodic relationship cf. ***Ford 60 (both stanzas only) ; MSON 100-
I, except our chorus which is new.
Scale: Lydian, plagal. Tonal Center: f. Structure: aa^a^ bcdd^ (2,2,2,
2,iJ^,2,2H). The chorus shows best the elision in measure three which results
in such unusual formations. Also, the structure of the chorus shows an interest-
ing use of the tonal material: cdd^ = cdedf (i^,i,i,i,ij^). This analysis
shows again that the musical structure quite frequently does not coincide with
that of the text.
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 251
374
The Southern Wagon
'Wait for the Wagon.' Sung by Miss Jeanette Cox, Winterville, Pitt county,
in 1921. F.C.B. notes: "Words in book. Hummed." The singer in the
recording sings la-la-la. F.C.B. does not state in which book the words
were to be found. There is, however, a collection The Everybody Si>ig Book,
edited by Kenneth S. Clark, Paull Pioneer Co., New York, in which this title
appears (p. 29). The composer is given there as R. B. Buckley. Cf. also
APPS 340 and FSUSA 166, the first six words. Our tune is a strange re-
lation to that of Ford 119. With the exception of the last four measures,
the stanzas are very closely related. But these last four measures, amputated
from the stanza, appear in our version as part of the chorus. Another strange
phenomenon of the musical mind can be found in OFS in 375, No. 563,
which constitutes what might be called the 'economy-minded version.' Our
second phrase is all there is to that version. It is interesting to observe in
our tune how the second cadence (measures 7-8) inverts the progression
of the first (measures 3-4).
F-354
^
I^
Come all
ye sons
of free - dom and join our South-ern
band; We're go - ing to fight the Yan - kees and drive them
i
i
s
^^
from our land. Jus - tice is our moth - er, and Prov - i
^^m
1^3
^^
v
dence our guide; So jump in - to the wa - gon and we'll
3
^
-w- • -w-
all have a ride. Wait for the wa - gon, the se - ces - sion
-■^
^S
^
wa-gon; The South is our wa - gon, we'll all have a ride.
For melodic relationship cf. **Ford 119; OFS in 375, No. 563.
252
NORTH CAROLINA FOLKLORE
Scale: Heptachordal. Tonal Center: c. Structure: abacabacab^ac (2,2,2,
2,2,2,2,2,2,2,2,2) = aa^aa^a^a^ (4,4,4,4,4,4). The tonal center is the lowest
tone.
375
Red, White, and Red
'The Red, White, and Blue.' Sung by Miss Jewell Robbins, Pekin, Mont-
gomery county, July 1922. The singer alters the text printed in III 446, No.
375B and does not repeat the last line. Cf. also II 529, 'On the Plains of
Manasus,' which has the same chorus.
F-3S5
(9 4 J- J
* W W * ' — • * 9 *-
On the banks of the Po - to - mac, there's an
S^
^^
N N
my so grand, Whose ob - ject is to sub - ju - gate
t
Dix - ie's fair land. They say that we split this great
I:
J J I. J
^
Un - ion in two And al - tered the col - ors of the
m
-* — ■■ &> _
Red, White, and Blue. Hur - rah, hur - rah- we're a na - tion that's
» J Jl. J J |j=j
=T:
I
5
E
true, And we're all de - fend - ing the Red, White, and Blue.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : ababab (4,4,4,
4,4,4)-
376
The Soldier's Farewell
'The Soldier's Farewell.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 192 1 or 1922.
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 253
F-356
m
^^3^^^
e^
't-
I'm go - in' a - way to - mor - row To tar - ry for a
-* »! *
£
i
^
while, So far from my dear dar - ling, A - bout five hun-dred mile.
Scale: Irrational (2,4), plagal. Tonal Center: d. Structure: abac (2,2,2,2)
= aai (4,4).
377
Early One Morning in the Month of July
'Early One Morning in the Month of July.' Sung by Miss Jewell Robbins,
Pekin, Montgomery county, in 1922 or 1923. Judging from the musical struc-
ture, there can be not much doubt that the last couplet is "only half of a
stanza, the rest of which had been forgotten."
F-357
-9r
^
i
Ear - ly one mom - ing in the month of Ju - ly We
i
fin - ished our crops- and laid them all by. We left our —
t
plows and gear a - lay - ing in the mow; We left our-
^
pret - ty girls — sil - ver and gold. If you want to
^
^
know for what I
—\ N , 1-
can tell you why — We're
--^
bound to whip the Yan - kees, we'll do it or die.
254
NORTH CAROLINA FOLKLORE
Scale : Heptachordal, plagal. Tonal Center : d. Structure : abcbabcbabcb
(2,2,2,2,2,2,2,2,2,2,2,2) = aaaaaa (4,4,4,4,4,4). All cadences are on the higher
octave of the tonal center.
381
Pretty Peggy
'Pretty Peggy.' Sung by Bennett Smith, Zionville, Watauga county. May
8, 1915. For additional text cf. BSM 169.
f)
N
F-35S
V A K
N
^
IS
^ 1
1 _ \
J' •+ P
^
"
^
N 1 1 ^ '
lr^ 1 m •
J •
[S
? d m
d "^
v; 4. •
,N
* * •
• 1
t)
•
Won't you mar - ry me, Pret - ty Peg - gy
O.
-3
*
— l'^ 1 l^-^< — i —
^-^
-^-^-
-u=
-f—
1
b'
-^-^^-^-
-f-
— ^^—
tj
yt ^ —
Won't you mar - ry me, Pret - ty Peg
gy
O,
^^
i
i:
3t:i
Won't you mar - ry me? Such a sol-dier I'll be, Just as
^
:|^
-*
-^
"*3^
coun - try, O, Just as
grand as an
in the
1^
-^
grand as an
Stanza 2 i_2
- y
the coim - try, —
O.
4-
¥=^
fe^
P^ — N-
:*=#
nt^^
'V-
^. — Fvt-n
tE^
t-N
-,N— K
:s=a:
:i=it
-^-^
For melodic relationship cf. **SharpK 11 61, No. 95, considerable relation-
ship in the general melodic line.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: aa^bcc (2,2,2,2,2).
381(1)
'Pretty Peggy.' Sung by Mrs. Katherine Thomas, Pineola, Avery county,
August 24, 1939. Mrs. Thomas is the granddaughter of Mrs. Edith Walker.
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 255
F-359
m
^
^
■«-
Won't you mar - ry me, Pret - ty Peg - gy O,
t:
i
#
Won't you mar -
0 1 ^ N
ry me,
Pret - ty
Peg - gy 0,
^
V II
^
N
> J J J
_,>
^
r^ • * *
s
J pO
r S '
\.) - - . J .
J S^ J
/•J\ 1
vl
m m ' m m
K*)
Won't you mar - ry me? Such a sol - dier I'll be,
^
Just as good as an - y in the coun - try, O.
For melodic relationship cf. *SharpK 11 60, 95C (third measure only).
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (2,2,2,2). The
final cadence is typical of Irish songs.
382
Never Mind Your Knapsack
'Southern Spy's Song' ('Spy in Lee's Army'). Sung by Miss Jewell Robbins,
Pekin, Montgomery county, July 1922. For additional text cf. JAFL lx
240.
F-360
P^9 ,
PV—
— ^—
— jV-
— N-
^ h ■^ r
•
J
«
» .
•
J
fj
fc\^ <^ \j 1 ' ' i i
! ,
\s)Zi V
[^
U
J
1
tJ
Nev - er mind your knap - sack, Nev - er mind your gun.
1
r=^
-J' J I J^
1^
Fight-ing of the reb - els Ain't noth-ing but fim. And it's
^
^--j— X^^^
off
to Rich - mond So ear - ly in the morn
ing,
I
^
^^?
-3r
Off to Rich - raond, I heard a Yan - kee say.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abcc^ (2,2,2,2).
256
north carolina folklore
Bushwhacker's Song
'Owens Fort.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
July 1922. In a second version, taken down by this editor on a visit to the
singer's home in Gastonia in the summer of 1954, there occur a few minor
changes which can be seen from the variations given below. As there were
thirty-two years between the two recordings made, it is of considerable im-
portance for the different appraisals made by various scholars as to the
reliability of oral tradition. For another text cf. OFS ni 135, No. 404C;
the beginning of first stanza there furnishes lines i, 2, 7, 8 of our second. ^
F-361
m
^
i
I am a bush-whack - er, The thick - et's my home, The
i
^
^
?
^
thick - et's my home, The thick - et's my home. I
^
w
^
am a bush-whack - er, The thick - et's my home, And
^
^
m
I them that don't like
Can
let me
a - lone.
iv-f-
m
-N
Scale: Heptachordal. Tonal Center: b-flat. Structure: abac (2,2,2,2)= aa^
(4,4). The tonal center is the lowest tone.
1 The singer, later Mrs. C. P. Perdue and now widowed, says "Mr. A. P.
Leach's brother was killed by the bushwackers, by the Owen's gang during the
Civil War at the Owen's Fort, where they had barricaded themselves." This
contradicts Archibald Henderson, who, in his North Carolina history. Vol. I,
attributes this to the Regulator period. Mrs. Perdue's sister lived near the
site of the fort and says Dr. Henderson is quite wrong. Mrs. Perdue's great
great grandfather, Isaac Armstrong, (second on wanted list) was a regulator.
There is a sworn statement at Raleigh, that he furnished food and provender
for the American Army (Marion and his men). He and other regulators
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 257
burned Flora McDonald's house (one quarter mile from Mrs. Perdue's birth-
place on Cheek's Creek).
386
Sorghum Molasses
'Sorghum Molasses.' Sung by G. S. Robinson, with banjo accompaniment,
Asheville, Buncombe county, August 4, 1939. Compare the general melodic
outline of the first three measures with that of measures 11-12, also 5-6 with
17-18. For another version cf. JAFL xxvii 294.
F-362
3^^EEE
-4=
i^
A sol - dier was a - set - ting by the road one day As
^
i
:it=t
he was a - look - ing ver - y gay. By his side he
ETTI . 1-^^
-^ ^ -z^
had some meal He'd just stol - en from an old tar - heel.
Banjo
! ! F= =~ ^ ^
i
Bye and bye.
I'm a - goin' to mar - ry be
Banjo
^
^^' r r ? ■'*' ^'
fore I die, Bye and bye,
I'll mar - ry the girl
-y — r^ — M
— \ ^ — \ 1~
\ — 1 1~
/T J J
i ^
1 ^ ! 1
1 1 1
frn • •
Ml' 1
J •
9
^
"
9
m
vm;
J
^ •
J
i^ •
s
•
fj
with the bright blue eye. The Geor - gia girls there's none sur- pass- es;
1
f
^^
?
They are sweet-er than 'sorg-hum mo - las - ses. Bye and bye. —
Scale : Heptachordal. Tonal Center : c. Structure : aabccb (2,2,4,4,4,6) . We
have here again a compound form : mmn plus oon^ =: bar plus bar. This
and the following companion version give excellent examples for the fact
that text and melody, structurally, do not always coincide. The tonal center
is the lowest tone.
258
NORTH CAROLINA FOLKLORE
386(1)
'Sorghum Molasses.' Sung by anonymous female singer. No place or date
given.
F-363
^
W^
A sol - dier sat by the road one day And he was
9
^1>— *^ ^
look - ing ver - y gay.
For by his side he had some
^
w
-0- -c- '
-■i—^-
meal That he'd just stole from an old tar - heel. Bye and bye,
'^
1 I J
E
bye and bye. I'm gon-na mar - ry be - fore I die,
^
: J: J- ' •^-
^ ^ sh
Bye and bye, bye and bye. Mar - ry a girl with a
bright blue eye. Geor - gia girls none sur-pass - es; They are
;b
?
■:J^-^—^
^
fj -0- -0- -0- ' ' ' ' ^ ^ .0- ^.
sweet - er than sorg-hum mo - las - ses. Bye and bye.
Scale : Heptachordal. Tonal Center : c. Structure : aa^bccd ceeicci (2,2,2,
2,2,2,2,2,2,2,2) =r aaibcb^ddib^ (2,2,6,2,2,2,2,4) = bar plus strophe plus bar.
This change from the analysis of the preceding version is due to the different
treatment of the chorus. The free sequential pattern of measures 15-16 and 17-
18, based as it is on a melodic design varying from that of the previous tune,
decidedly affects the structure. The tonal center is the lowest tone.
390
When This Cruel War Is Over
Tf amid the Din of Battle.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county; recorded in Durham in 1922. F.C.B. notes: "Printed in Heart Songs."
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 259
The singer sings la-la-la throughout. For additional versions cf. TAS 192-3 ;
FSS 277; BSM 381. Our text is a combination of parts of stanzas three
and four of BSM 381. Our last stanza is a combination of the first half
of stanza 3 and the last half of stanza 2 in Texas FS 271-4.
F-364
^^
-4-^-
If a - mid the din of bat - tie
no - bly you should
fall,
--r^
-^
Far
way from those who love
you,
* ^ ■ ' ^ ^ '^9 9 _^_
and — none to hear you call. But your coun-try calls you,
l=j ! -h I N ! J I — T I h— f^ N
loved one. An - gels guide your way. While our South-em
-^-
'
fight - ing, we will al - so pray.
For melodic relationship cf. ***Texas FS 272-3; **TAS 192-3.
boys are
Scale : Hepatchordal, plagal. Tonal Center : g. Structure : abaca^b^ac 2,2,2,
2,2,2,2,2) = aa^a^ai (4,4,4,4).
391
The Good Old Rebel
'I'm a Good Old Rebel.' Sung by Miss Lois Johnson, Davidson county. No
date given. This tune is identical with the version of the ballad 'Joe Bowers'
as sung by Miss Jean Holeman. Cf. IV 295-6, No. 258; also OFS 11 194-5.
For another version cf. JAFL xxviii 11; OFS 11 291-3; and CS 94-5.
F-365
^PP
t=&
^=^
Now, I'm
a good old Re - bel, An' that's jes what I
26o
NORTH CAROLINA FOLKLORE
am,-
For this fair 'Land of Free - dom' I do not
i
s
care a damn.
I'm glad I
fit
gainst it, I
Wt^
0 H
N—
— • —
-#-•
— ^—
-fs 1
— 1 —
— ^—
— J —
-f
#=fc=
0
L-^
— 0 —
=tr-
=i —
on - ly wisht we'd won,
An'
I don't ax
^
--^-
par
don For
noth
ms 'tall
done.-
For melodic relationship cf. ***OFS ii 194; ABFS 534 and 538; **FSm-
WV 65, first and last two and a half measures.
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: abba^
(4.4,4,4)-
'Ole Marse Robert' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, July 1922. It is interesting to observe that both versions although differ-
ing in melody as well as meter, have the same structure.
F-366
i
±
^
f^
J J J
3^
S
I am a good old re - bel, Now that's just what I am.
i
i=fe
t:
it
5
0 0
3E
i^
V i>t W-
For this fair land of free-dom' I do not give a dam. I'm
t
^
^
E
glad I fought a - gainst it, I on - ly wish we'd won, And
±=t
^
i
-^^ &-
i /l^' ^ ; j'^
I don't want an - y par - don For an - y - thing I've done.
For melodic relationship cf. ♦*OFS 11 294, No. 231B, first four measures
only.
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: abb^ai
(4,4,4,4).
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 261
393
Brother Green
'Brother Green.' MS score collected by Dr. I. G. Greer from Miss Ella
Harden, of Stoney Fork, Watauga county. Our tune is closely related to that
of 'Barbara Allen,' IV 58, No. 2yA{i) ; and cf. the remark in BSM 277-
For additional texts cf. FSS 273-4; SSSA 212; and FSSH 364-5.
F-367
^:
:t:
O come to me my Broth - er Green, For I
:fe££
it
shot and bleed - ing.
Now-
must die
^
^ 5^ N
it
-0—
more — to see My wife and my dear chil - dren.
For melodic relationship cf. ***OFS 11 253-6; BSO 253; '**Texas FS
274-5; LT 18, 21 (general melodic outline).
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abb^b^ (2,2,2,2);
b^ is a free transposition of b.
'O Brother Green, Come to Me.' Sung by Manley Greene, Zionville, Watauga
county, in 1939. Interesting use of melodic material can be observed in
measures 3-4 and 4-5. As the previous version, so the present tune is closely
related to that of 'Barbara Allen'; cf. IV 58, No. 27A(i). For additional
text cf. SSSA 212-3.
F-368
i
^
I
*:
i=*
Oh Broth - er Green do come to me, For I
'^t=i=
— ^ — s r
-7 f f—
t'"^-* i ^ ^ g'. — ^ —
ijtt
• _J •
I l> ^
h-t — g t?-*' 1 — ^
shot and bleed - ing, Soon I may die-
^
iEE^
^
more to
My wife and my dear chil - dren.
262
NORTH CAROLINA FOLKLORE
For melodic relationship cf. ***OFS 11 254, No. 211A; BSO 253; **Texas
FS 274; LT 18-9 (general melodic outline).
Scale: Tetratonic (2,4), plagal. Tonal Center: e-flat. Structure: abcb^-
(2,2,2,2) ; c is related to a, in melodic material also to b.
394
He Never Came Back
'He Never Came Back.' Sung by G. S. Robinson and O. S. Kuykendall,
Asheville, August 18, 1929. The tune is almost identical with that of F-
331, which is by the former singer. The chorus of our version also changes
time signature. In the version referred to, it consists of a repetition of the
material of the stanza.
F-369
S
^
4 J 14
sol - dier kissed his wife good - bye, He was
^
=?z=t
^
go - ing to the war; The tears did trin - kle down his cheeks,
-y — ^ M 1
— ^ — ^-
— \—
— \ ^
: 1
=£=r-
—^
— <5i-T-
— ^
— « —
t:^i_
1 J 1
Of the one he did a - dore. 'Be pa-tient, love, till
m
I re -turn, My own sweet-heart,' he cried; But at the
i
■i' I J "4
• 5t *■
Bat - tie of Bull Run, He like a
sol
dier
S
^^
^
^ J i
died. He nev - er came back, he nev - er came
more;-
back; His dear face she'll nev - er see
^
But how hap - py she'll be When his dear face she'll
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 263
i
^
w^
see, When we meet on that beau - ti - ful shore.
For melodic relationship cf. **OFS in 125, last eight measures of chorus
only.
Scale : Heptachordal. Tonal Center : c. Structure : abacded^ei (4,4,4,4,4,4,4,4)
= aa^bb^ (8,8,8,8). The tonal center is the lowest tone.
394(0
'Till We Meet Again.' Sung by Mrs. Loraine J. Pridgen, Durham, July
1923. The singer became confused and switched the procedure, as can be seen
by referring to line 7 of the third stanza, in III 471. For another version
cf. OFS III 125, No. 399 (fourth stanza same as our text). The whole
character of this parody indicates the influence of vaudeville. The shifting of
keys from the stanza to the chorus would strengthen this impression. There
is no f natural in the stanza and no f sharp in the chorus.
F-370
i
A
w
it
5
3. I went to see the Bar - num show, I took my moth •
i=*
^
-^
er - in - law; — She laughed at ev - 'ry - thing she saw, Un
^EE^
til she broke her jaw. — The big bal - loon out - side the
t:
t
■^
^^
m-
fj
tent. It proved to be my friend;- I cut the rope and
M
m
i
W
pushed her in. And up she did as - cend. And she
^
m
nev - er came back, she nev - er came back an - y -
^^
^
^
more, — High up in the air she did soar; — I'm hap - py
264
NORTH CAROLINA FOLKLORE
=?
^
^
to - night, That she's way out of sight; She
I
J
S
^
clean out of sight Till we meet on that beau - ti - ful shore.
Scale: Heptachordal. Tonal Center: g-c. Structure: abcdeff^g (4,4,4,4,3,2,2,3).
With regard to the changing tonal center, it should be stated that the stanza
is definitely in the key of G, cadencing on the tonal center, whereas the
chorus is in the key of C, cadencing on its tonal center. The scale of the
stanza is plagal, that of the chorus is not. Observe that the tonal material of
measures 2-3 and 5-6 furnishes also measures 9-12. Note the very unusual
structure of the chorus, one more reason to ascribe this song to vaudeville
origin. The tonal center is the lowest tone.
395
Goodbye, My Blue Bell
'Goodbye, My Blue Bell.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 1921 or 1922. The text was supplied from memory by Newman I.
White in Durham, January 13, 1945.
F-371
-plj^j —
—t tt-
0 m
w^hr
-^-^=*-
— 0 —
-f—
-1 —
— i/ y 1 1 1
-T — f — ^ —
Good bye, my Blue Bell, Fare - well to you. One last fond
^^SE^
w 1 • 1 ^ r •
look in - to your eyes so blue. 'Mid camp-fires gleam-ing,
t
I
Through shot and shell, I will be dream-ing Of my sweet Blue Bell.
Scale: Heptachordal, plagal. Tonal Center: a. Structure: abab^ (2,2,2,2) =
aai (4,4).
400
The Sweet Sunny South
'The Sweet Sunny South.' Sung by Mrs. Alice Cooke, Boone, Watauga coun-
ty, 1922. The text as printed in III 475-6, gives the stanzas with eight lines.
The MS score furnished by Mrs. Cooke as well as the recording gives a
tune which takes care of only four lines. The chorus in our version also is
MARTIAL, POLITICAL, AND PATRIOTIC SONGS 265
different, as it is merely a repetition of the stanza, with some modifications.
How and when this difference arose is not possible to ascertain at this time.
It is quite evident that the second half of the stanza can be taken care of by-
repeating the musical equivalent of the first half. By doing so, however, one
will encounter a considerable amount of monotony, as the chorus again re-
peats the same melody.
F-372
Take me home to the place where I first saw the Hght,
^
S
^
To the sweet sun - ny South take me home,
Where the
^ J d ^ ^
£
mock - ing - bird would sing me to rest ev - 'ry night; Oh,
: : \ N
?
j^
rhy was I tempt - ed to roam? Take me home.
z^
^
^
take me home.
To my sweet sun - ny South take me
£
home. Where the mock - ing - bird would sing me to
-Pn > ^ : i N
m
^^-i^ w 5r
rest ev - 'ry night; Oh, why was I tempt -ed to roam?
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abcda^bcid (2,2,2,
2,2,2,2,2) = aba^b^ (4,4,4,4).
401
Blue Ridge Mountain Blues
'The Blue Ridge Mountain Blues.' Sung by Otis Kuykendall of Asheville,
July 18, 1939-
266
NORTH CAROLINA FOLKLORE
F-373
i^
4* fv
^^
When I was young and in my prime
I left my
j^; ; jMj. .^u^^
home in Car - o - line.
AU
do is sit and
i
:2±
pme
For those folks I left be - hind. I got the
^.
^
:^
k±
Blue Ridge Moun - tain blues, And I'll stand right here and
^
w
say
Ev - 'ry
day
I'm count - ing till I
m
1^
^^
^
-#— =-
climb that moun - tain To the Blue Ridge far a - way.
1-3
-JV->,-
zii=i=^zz^
--^--N
^ g^^-
-• — 0-
0—0-
T^— y— V-
-I • 0-
=^=^
=P=^
Scale: Pentachordal. Tonal Center: g. Structure: aba^bicdcibs (2,2,2,
2,2,2,2,2) =: aa^bbi (4,4,4,4) ; c^ is considerably modified. The tonal center
is the lowest tone.
XII
BLACKFACE MINSTREL AND
NEGRO SECULAR SONGS
404
Cindy
'Cindy: A Jig.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county. No date given. For additional versions cf. TSFL 711; APPS 183;
FSUSA 94; SHP 61; JAFL vi 131; BTFLS vi 39.
F-374
M
§
t
*
Oh, where'd ye git yer lick - er, Where'd ye git yer
A —
dram?
N —
got it
of
a nig - ger Way down
— ^-
^
Rock
ham. Oh, git
long home, Gin - dy.
^F^
Gin - dy, Git a - long home, Gin - dy, Gin - dy. Git a - long
t:
^
i
home, Gin - dy, Gin - dy, '11 mar - ry
you some time.
For melodic relationship cf. **Ford 58; FSoA 114, (stanza) ; *FSSM 42-
43; and TAFL 899 (chorus only).
Scale: Mode III, plagal. Tonal Center: g. Structure: aba^cdedf (2,2,2,
2,2,2,2,2)= aa^bb^ (4,4,4,4).
268
NORTH CAROLINA FOLKLORE
'Cindy.' Sung by Miss Jewell Robbins, Pekin, Montgomery county, July
1922. The melody of our stanza is quite closely related to that of F-374.
F-37S
^m
:2:
-^-
went to
Miss Cin - dy. She 'as
1^
i^^
s
stand - in'
de door, Her shoes and stock - ings
^J~^^^
^=S=
in her hand And feet all
ver de floor. Oh,
^^^
li
git a - long home, Cin - dy, Cin - dy, Git a - long home.
S
ffi
^
?
Cin - dy, Cin - dy, Git a - long home, Cin - dy,
:&:
I
^
^=^
tj
Cin - dy, I'll mar - ry you bye and
For melodic relationship cf. *FSUSA 94 (chorus only).
bye.
Scale: Mode III, plagal. Tonal Center: g. Structure: aba^b^ccicbi (2,2,2,
2,2,2,2,2) = aa^bbi (4,4,4,4).
'Cindy.' Sung by Bonnie Wiseman, accompanied by her band. Upper Hinson
Creek, Avery county, August 26, 1939.
F.376
S^E3
1^=^
i
=1^
You ought - a see my Cin - dy, She lives a - way down
S
i^
S
5^
^
South. An' she's so sweet the hon - ey bees Are swarm - in'
MINSTREL AND NEGRO SECULAR SONGS
269
^=^
N-
t=t^
^=r
round her mouth.
Git
long home, Cin - dy, Gin - dy,
%--
=1?^=^
^
Git a - long home, Cin - dy, Gin - dy. Git a - long home.
I
3t=
^^^
*
^
-»>■ V T^- V
Cin - dy, Cin - dy, I ain't gwine there no mo'.
For melodic relationship cf. *FSoA 114, general melodic line of stanza
only.
Scale : Heptachordal, plagal. Tonal Center : d. Structure : aba^cdedei (2,2,2,
2,2,2,2,2) = aa^bbi (4,4,4,4). Again, with all the melodic variation in the
different versions, the same structure in all should be noted.
Second stanza:
Wish I was an apple
A-hangin' on a tree.
Some li'le girl coming along
Would take a bite of me.
405
Dearest Mae
'Dearest Mae.' Sung by Otis Kuykendall, Asheville, July 18, 1939. The
singer gave as his title: 'Mae, Dearest Mae.' It is up to the judge, so to
speak, when MSON names L.V.H. Crosby as composer, while SRA credits
the music to James Power. The tunes, however, are identical! Both publica-
tions credit Francis Lynch with having written the words.
F-377
■^
-:it-
^
^
Come, dark - ies, lis - ten to me,
sto - ry I re -
T~rtj
^
-^ —
It
hap - pened in this val - ley
of the
S
5^^
;i=
^
old Car- o - lin - a State. Way down in the mead-ow.
270
NORTH CAROLINA FOLKLORE
to mow hay,
al - ways worked the
?
hard - est when they told of love to me. Mae, dear - est
^^=?
Mae, you're as love - ly as the day; Your eyes so bright,
I
they shine to - night when the moon am gone a - way.
For melodic relationship cf. **SRA 80; *MSON 143-4 (general melodic
line of stanza only.)
Scale: Hexatonic (6), plagal. Tonal Center : f. Structure : abcdaiefdia2eifid2
(2,2,2,2,2,2,2,2,2,2,2,2) = abcdcidi (4,4,4,4,4,4) ; cd as well as c^i are some-
what related to a and b. The over-all form would be nmmi (8,8,8) = in-
verted bar. This is an excellent example for non-conformity of text and
music.
406
Massa Had a Yaller Gal
'She's My Yaller Gal.' Sung by J. D. Johnson, Trinity College, Durham, m
1919 or 1920. The interesting point in this melody is that it must prove very
disappointing to such scholars as believe that the musical rhyme must always
conform to that of the text. Here we see again that it does not. The tune
will prove that. For additional textual versions cf. APPS 257; FSSH
436; JAFL xLv 170.
F-378
4!C
She's my yal - ler gal, I brought her from the South.
i^i
i
^^
Took her down to the black-smith shop To have her
^
= — . — . . — _^ . — j^ ^
mouth made small; But, bless you soul she o-penedher
MINSTREL AND NEGRO SECULAR SONGS
271
mouth And swal - lowed that shop
Scale: Hexatonic (2), plagal. Tonal Center: b-flat. Structure: abc (4,4.4)-
The tonal center is the highest tone. To this editor, our song seems to reflect
vaudeville influence.
408
Oh, Susanna !
•Oh, Susannah!' Sung by Dwight Edmister. No place or date given. For
additional versions cf. JAFL lvi 104 (text and footnote), NPM 79 and
BTFLS V, 47-8. With very minor modifications and rhythmic changes our
tune is identical with the original by Stephen Foster.
F-379
left, the weath-er it was dry,
^H*--^
iifc
The sun so hot I
^^
froze to death; Su - san - nah, don't you cry.
-J 3— 4^-JV-^
S^E
Oh! Su - san-nah,
^m^
don't you cry for me,
I come from Al
i
§
^
a - bam - a
with my ban - jo
my knee And I'm gwine
to
272
NORTH CAROLINA FOLKLORE
^
r=P=
^
Louis - i - an - a my true love
For melodic relationship cf. ***ESB 13.
for
to
Scale: Hexachordal. Tonal Center: f. Structure: aaiaa^baia^ (2,2,2,2,2,2,2)
= aabai (4,4,2,4) = Reprisenbar. The tonal center is the lowest tone.
409
Nancy Till
'Nancy Till.' Sung by C. K. Tillett, Wanchese, Roanoke Island, December
29, 1922. For other texts cf. MSON 88-9 and APPS 182E. Our melody be-
gins somewhat like 'Old McDonald Had a Farm.'
F-380
i:
m
^
m ^ w
Down in the cane - brake close by the mill Lives a
J I 1^ ^
m
^
*
lit - tie gal her name is Nan - cy TiU. I loved her ht - tie
S-^^ M
H-
=t=
— N S ^ \ —
— =1^
g' * ^H-
^
E=Ji=J^=^
-^ ^ J PH-
4
and I loved her long. Go - in to
8 - nade her, and
i
*
w
?
sing this song: The boat lies high, the boat lies low. She
f=r=m
w
3
lies high, dry, on the O
hi
Come, love, come,
1=*:
^
^
I
3
come and go with me, I'll take you down to Ten - nes - see.
For melodic relationship cf. ***MSON 88-9.
Scale : Hexachordal. Tonal Center : d. Structure : abab^cdcdi (2,2,2,2,2,2,2,2)
=r aa^bb^ (4,4,4,4). The tonal center is the lowest tone.
MINSTREL AND NEGRO SECULAR SONGS
273
410
Miss Julie Ann Glover
'Miss Julie Anne Glover.' Sung by Mrs. C. C. Murphy, Ivanhoe, Sampson
county. No date given. For additional texts cf. FSF 159-60 and FSONE
224 with different text and title: 'Julia Grover.'
F-381
^.
^3
?
— r
As
I was a-gwine to the mill one day I
^
met Miss
Ju
lie Anne a - gwine that way.
She
^
^
^
=?
^
'spressed her wish that— she might ride, An' I sot Miss
^ ^ ' ^^^ J- -J-
up
Ju - lie for to ride— by my side. Oh! set
thar, Miss Ju - lie Anne Glov - er! Bend yo' eyes an' I
^
S
can but lub yer! Oh! set up thar, Miss Ju - lie Anne
E^
^-^-^^^
m
Glov - er! Bend yo' eyes an' I can— but lub yer!
Scale: Heptachordal, plagal. Tonal Center: f. Structure: ababicdcdi (2,2,2,
2,2,2,2,2) = aaibfai (4,4,4,4). The first measure of d and d^ is like that of c.
All cadences are on I.
411
Kitty Wells
'Kitty Wells.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county. No date given. The singer said he got this song from his mother. Same
text as version A. For two additional versions cf. FSF 139-41-
274
NORTH CAROLINA FOLKLORE
F-382
^
^
You ask what makes this dark - y sad,-
Why
-r, — ^ i 1
1 — ^ ^—
XbJ 1* ]•• * i" 1*
1
-1 1* ^ J
f"\^ 0 • \j r \j \i V
1^ s
• • n r •
\s) y {/ w ^ ^
w y
fj
he hke oth - ers am not gay, What makes the tear flow
^
-Ki-
down his cheek
From ear - ly morn till close of day?
^-dHfH^-
15^
It
S
^
;s=
My—
sto
ry, dark-ies, you shall hear, For
:^
my
mem - 'ry fresh it dwells; 'Twill cause you all to drop a
1 ^ •)
5
2
3
S
tear — On the grave of my sweet Kit-ty Wells. When the
E
^
?
^
birds were sing - ing in the morn - ing And the myr - ties
S
3^
^
^
^
-^
^ "
and the i - vy were in bloom. When the sun o'er the
^
hills was- dawn -ing, 'Twas then we laid her in the tomb.
For melodic relationship cf. **Texas FS 146-7 (first half of chorus is
different).
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abcdcibicSdefcM
(22,2,2,2,2,2,2,2,2,2,2) =: abcbidb2 (4,4,4,4,4,4)- In the over-all form the
beginning of c is related to that of b, the ending to that of a. In the smaller
subdivision e is partially related to c. The lone f sharp is negligible and no
doubt merely an accidental inflection by the singer. It is in no wise of any
melodic consequence.
MINSTREL AND NEGRO SECULAR SONGS
275
'Kitty Wells.' Sung by Dr. I. G. Greer, Boone, Watauga county, in 1915.
F-383
^
^
r#=
i
You ask what makes this dar - key weep, Why he like
=E
S=?c
5
T^
oth - ers am not gay, What makes the tears flow down his
i^
^^^
=F^
cheek From ear - ly mom till close of day? My sto - ry,
h ^ ,"
i
E
dar - kies, you shall hear, For in my mem -'ry fresh it
:^
dwells; 'Twill cause you all to drop a
tear
On the
^=W^
:^
grave of my sweet Kit - ty Wells. — Oh! the birds sang
m
:P==
:^
— >■ ?• -
sweet - ly in the mom - ing
i
^
The myr - tie and the
-N :ir — *** — N — ^-
^^
w
^7
i - vy were in bloom. The — sun o'er the hill - tops waa
I^
dawn - ing, 'Twas then
laid her in the tomb.
For melodic relationship cf. ***Texas FS 146-7 ''our '^ixth measrire in
chorus is the first there).
Scale : Heptachordal, plagal. Tonal Center : f. Structure : abcdabcdefgd
276
NORTH CAROLINA FOLKLORE
(2,2,2,2,2,2,2,2,2,2,2,2) = ababcd (4,4,4,4,4,4). The whole is in barform
(mmn). In the over-all form d is related to b.
412
Ella Rhee
There is no record for this song, but since the editor (III 494) states, "I
have not been able to trace its history," the following might throw some light
on the problem. According to MSON 43-5 'Ella Rhee' was written by
Sep. Winner. Entered according to Act of Congress A.D. 1865 by Sep.
Winner in the Clerk's Office of the District Court for the Eastern District of
Pennsylvania. In addition, OPS iv 388 states : "He also wrote 'Listen to the
Mockingbird' under the pseudonym Alice Hawthorn." Cf. also H. M.
Wharton's War Songs and Poems of the Confederacy Philadelphia, 1904, 213-
14.
413
Clare De Kitchen
'Old Jim Crow.' Sung by Mrs. Emma W. Smith, Salisbury, Rowan county,
in 1922. For another version cf. MSON 152.
F-384
S
?
saw Un - cle John come rid - ing by. Says
^^
s^
-^- *-
I, 'Un - cle John, your horse will die.' 'If he does, I'U
i
3
^
i£
i ; ;
tj
tan his skin, If he don't, I'll ride him a - gin.'
^
Clear the kitch - en, old folks, young folks, Clear the
^
kitch - en, old Vir - gin
tire.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abashed (2,2,2,
2,2,4) = aab (4,4,6) = mmn = barform.
MINSTREL AND NEGRO SECULAR SONGS
277
'Clare de Kitchen.' Sung by Miss Amy Henderson (Mrs. W. C. in the MS
score) of Worry, Burke county, in 1914. The ms score states : "A Negro Dance
before the War." MSON 152 ascribes the song to T. Rice. Cf. also Negro
Singer's Ozvn Book, 323 : 'Old Wurginny neber tire.'
F-385
i
2:
^
iS^
In old Kain - tuck in the af - ter - noon We swep' the
E
floor with a brand new broom, And af - ter that we'd
^
m
form a ring And this is the song that we do sing: So,
^
^
5
cl'are de kit - chen, old folks, young folks,Crare de kitch - en.
^
i
*;
old folks, young folks. Old Vir - gin - ny nev
For melodic relationship cf. ***MSON 152; Ford 105.
tire.
Scale: Heptachordal. Tonal Center: c. Structure: aa^bbcc^d (2,2,2,2,2,2,2)
= abed (4,4,4,2). The tonal center is the lowest tone.
415
Lynchburg Town
'Get On Down to Richmond Town.' Sung by Mrs. Minnie Lee, Alliance, Pamlico
county, in 1927. Melodically, the stanza is identical with that of F-169. The
first three measures are the same as those in F-387. Cf also F-644 and the re-
marks made there. For additional versions cf. MSON 140-1 (last stanza is
first in version D) ; ASb 145; APPS 182-3 and 257; OFS 11 360; and Ford
395-
F-386
a
^3
rac - coon has a bush - y tail, A pos - sum tail am
278
NORTH CAROLINA FOLKLORE
oil
V'T
1 1 1 1
1 ^
/
1 1 ,
^ N
1 1 1
^) —
— 0 •- — — • #
— \i — D — . X —
— 1 J-i J —
■^■^ ^
^* • - -^
L_^ J «^ ^-^
bare; Rab-bit he come skip-pin' a - long, He had none to
^
i
^
:s:
spare.
Get on down town, Get on down town. Get
IB
^
on down to Rich-mond town And car - ry my 'bac - cy down!
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abcdbecidi (2,2,2,
2,2,2,2,2) ^ abcb^ (4,4,4,4) ; in the over-all form, the beginning of c is related
to the ending of a.
'Get Along Down Town.' Sung by L. D. Hayman, Elizabeth City, Pasquotank
county, abbout 1921 or 1922. The ms score gives "New Bern" ; someone else (in
the lower part of the sheet) wrote "Burg" with an arrow pointing to "Bern."
Melodically, the first three measures are the same as those of F-386. Our
melody is related to that of F-166. The last four measures of the chorus
remind of 'Oh, Susannah !'
F-387
i
XT
^
l#
^
w^
Pos - sum up the 'sim - mon tree, Rac - coon on the
ground. Rac
said
to the pos - sum: 'Please
^
hand some 'sim - mons down!'
Get
a - long down
to
town,
Get a - long down to town, Get a - long
i
V-f-- — f-
down to New Bern town. To take my ter - ba - cker down.
MINSTREL AND NEGRO SECULAR SONGS 279
Scale: Pentachordal. Tonal Center: f. Structure: aaia^ba^a^a^b (2,2,2,
2,2,2,2,2) = aba^b^ (4,4,4,4). In the over-all form, b and b^ are somewhat
related to a. The tonal center is the lowest tone.
'Lynchburg Town.' Contributed by the Rev. A. T. Burrus, Cliffside, Ruther-
ford county. No date given. The time signature of the tune given in the ms
score has been changed, as have been the barlines. Our chorus is the first
stanza in MSON 140-1 ; cf. also Ford 395 and OFS 11 360.
F-388
i
Chorus
^
z2:
m
w
:2z
O, I'm goin' down town, O I'm goin' down town, O
=i=
l¥
S
I'm
go
in' down to Lynch-burg town To car - ry
3
^
^
my to - bac - co down.
If I had a scold-ing wife I'd
^
whip her sure as she's bom; I'd ship her down to
i
^r=P=
^
Lynch - burg town And
bid
her
off,
of
For melodic relationship cf. **OSC 60.
Scale : Hexachordal. Tonal Center : f. Structure : abcda^b^c^d (2,2,2,2,2,2,2,2)
= aba^b^ (4,4,4,4). The c^ in the smaller subdivision is considerably varied.
The tonal center is the lowest tone.
'Goin' Down to Town.' Sung by Bascom Lamar Lunsford, Turkey Creek,
Buncombe county. No date given.
F-389
r=^ ^
^
i — r-
Go - in' down town. Go - in' down town, Go - in' down to
28o
NORTH CAROLINA FOLKLORE
i
m
^r=?=
5
I
§±=zt:
'221
Lynch -burg town To take my bac
down.
:1^=^
B-
i
^
:^
3tzi:
For melodic relationship cf. **ASb 145 ; *OSC 60.
Scale : Hexachordal. Tonal Center : f. Structure : aa^bc (2,2,2,2) = ab
(4,4). The tonal center is the lowest tone.
2nd stanza :
Daddy had an old grey mare,
Rode her off to town;
Swapped her for a new ten cents
And got a nickel down.
3rd stanza:
Once I had a banjo,
Ev'ry string was twine;
The only tune that I could pick
Was 'I wish that gal was mine.'
For the third stanza refer to the chorus of F-303 as well as the second stanza
and its missing text (III 354, No. 298).
420
Uncle Ned
'Uncle Ned.' Sung by Dr. I. G. Greer to this editor at the former's home
at Chapel Hill, in 1953. The stanza is a mixture of the A and C versions;
part of the chorus is new. For other versions cf. MSON 84 and OFS ll
385.
F-390
i
:4:
:Jt
^
-0 0 0 ^ ^
old dar - key, and his name was
There was
^
Un - cle Ned, And he died long a
go,
long a '
MINSTREL AND NEGRO SECULAR SONGS
281
^
^
He
had
wool
the top of his
^
* — *-
^
S^=5^:
^rr-^
head, In the place where the wool ought to grow. Won't you
^
f^ hV
^ :Jr
^^
lay down your shov - el and your hoe? Won't you
i^
tune up your fid - die and your bow? There's no more work for
I
1
¥
m
— » v. ^ — *
poor old Ned; He's gone where the good- dark - ies go.
Scale: Hexachordal. Tonal Center: c. Structure: abacaibiaic (2,2,2,2,2,2,2,2)
= aa^a^aS (4,4,4,4). The tonal center is the lowest tone.
'Old Uncle Ned.' Sung by Miss E. F. Jones, Bladen county, August 4, 1921.
There is no text given in the ms score, and none of the texts of the printed
versions (III 505-6) will fit our tune. The first eight measures definitely
point to 'Yankee Doodle,' and measures 9-12 to 'He's a Jolly Good Fellow.'
F-391
^^^^F^
=sr=t-
N
=^=V=^
.
1
— Pv-
-^-^^ — \—
t^zfat
=»^=^-
-^^
-^-^^^■^
— • —
->—
^— • -^ —
^
^
-r^-j-^r^--
:2±.
7 B ;• ^ ^ f ^ J (^
* ^ 1* P 1* J
r^
tt-^, I I "T-^ ' =^
--^^ I i I '
i
i
^^
j±.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abccd (4,4,2,2,4)
= ab plus mmn = strophe plus bar. The beginning of b is like that of a.
282
NORTH CAROLINA FOLKLORE
421
Way Down on the Old Pedee
'Old Darkey Joe.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, in 1922. A song by the title of our first line, but otherwise totally different
text can be found in SSGSI 122-3.
F-392
i
s*
P3
^
Way down south, on the old Pee - dee, Way down in the
r r
S^
cot - ton and the com. There lived old Joe; and he
^
lived so long That no - bod - y knows when he was born.
4t
No use now to weep for dar-key Joe, Sleep-ing by the
m
1^
i
tall
i
green- corn,-
It does - n't mat - ter now for
i
— * — *
old dar-key Joe; No - bod - y knows when he was born.
Scale : Hexachordal, plagal. Tonal Center : f. Structure : abcdefc^d (2,2,2,
2,2,2,2,2) = abcbi (4,4,4,4).
423
Some Folks Say That a Nigger Won't Steal
'Oh, Mourner.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
1921 or 1922. For the text given in III 510, No. 423 I, the six measures given
below must be repeated twice. For other versions cf. Negro Singer's Own
Book, 347, 'Whar Did You Cum From' ; Ford 373 ; RAS 43 ; and ANFS 370,
No. 39.
MINSTREL AND NEGRO SECULAR SONGS
283
F-393
:2=z*
^
^*
^
Some folks say that a nig - ger won't steal. Way down-
^
i
I^
^
i
way
1-2
down,
^Zlt
way down yon - der in the
— ^-
field.
I
For melodic relationship cf : *Ford 373 (last two measures only).
Scale: Trichordal. Tonal Center: g. Structure: aba^ (2,2,2); no three-part
form, however. All three short phrases cadence on I. The tonal center is
the lowest tone.
425
The Preacher and the Bear
'The Preacher and the Bear.' Contributed by Miss Tina Fussell of Snow
Hill, Greene county, between 1923 and 1924. The f-natural is a typical idiom
often consciously introduced to obtain the Negro quality which seems to be
traditional, just like the Scotch snap, which, however, is anything but Scotch.
The two stanzas given in III 512, No. 425B, are the only ones used by our
singer. While there can be no doubt about the minstrel origin of this song,
the varying texts given in III 511-2, as well as our additional two stanzas,
would indicate some folk influence. Our additions come from the song 'Didn't
My Lord Deliver Daniel,' where they constitute the first stanza. Cf. TFS 222-
3. It should be noted, however, that our last stanza, although in fragmentary
form, can be found as the third stanza of version A.
F-394
1^
W
Azjt
preach - er went out hun - tin'; 'Twas on
^
^m
Sun - day mom. He knew
a - gainst re -
gion,
But he took his
gun
long, He
killed him
self
ve - ry
fine quail
And
284
NORTH CAROLINA FOLKLORE
?^^
^
lit - tie meas - ly hare; And
his way —
i
i
*
he was go - in' home — He met
great big
m
^±:
grizz - ly bear. 'Oh
Law - dy,
did - n't you de -
liv - er Dan - iel from de
den,
t-
-* — u-
:2
den, Dere's Jo - nah from de bel - ly ob de whale, an'
i
1?
W-
den, De He - brew chil - lun from de
fu'- nace
^^
^
*
Which de good book do de - cleah. Now Law - dy ef n you
*
*:
don't he'p me, Doan you he'p dat grizz - ly beah!
Scale: Heptachordal. Tonal Center: d. Structure: abaicdd^a^ci (2,2,2,2,
3,2,2,3). Here, a^ is considerably modified and c^ presents a sophisticated ap-
plication of the principle of variation. Over-all form: aa^ba^ (4,4,5,5) =
Reprisenbar. The tonal center is the lowest tone.
426
I Was Born About Ten Thousand Years Ago
T Was Born Ten Thousand Years Ago.' Sung by Miss Eura Mangum,
Durham, in 1922.
i
MINSTREL AND NEGRO SECULAR SONGS 285
F-395
w
p*
^
§E
4-i-
I was born ten thou - sand years a - go. And there
i
ffi
=#
is - n't an
thing-
that I don't know.
^
^^
^^
Pe - ter, Paul, and Mos - es play - ing 'Ring a - round the
I
^
> V J- V * ^ ^
Ros-es' And I'll lick the man who says it is- n't so!
For melodic relationship cf. ***FSUSA 30, the first four measures are
identical, our measures 5-6 are reversed there; **BSSM 448, our measures 5-
6 and 9-1 1 there; *ASb, measure 6.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aa^a^a^ (2,2,2,2)
= aai (4,4).
427
Have a Little Banjo Beating
'Have a Little Banjo Beating.' Sung by C. K. Tillett, Wanchese, Roanoke
Island, December 29, 1922.
F-396
:^
:^-
^
Stay a lit - tie long - er and don't make a noise
it^
^
±-
^
While old Mas - sa and Mis - sus are sleep -ing.-
We'll
fi
i:
go
in the barn-yard and a - wake up the boys
s
*:
^
And — have
Ut
tie ban
JO
beat - ing.
286
Stanza 4
-±
E
id — ^
NORTH CAROLINA FOLKLORE
J ;■;'/;
e
^^
s
^^
Scale: Hexatonic (4), plagal. Tonal Center: c. Structure: abed (4,2,2,2).
Observe the subtle use of the tonal material of the first two measures in the
fifth and sixth and again in the seventh and eighth measures. Note the con-
traction of the third and fourth measures into measure 8. Circular Tune (II).
The tonal center here is the highest tone.
428
The Traveling Coon
'The Traveling Coon.' Sung by Percy F. Billing, Trinity College, Durham,
December 5, 1919. MS score by E. C. Lovell. There is also a recording.
F-397
:%-
^
Once there was
trav - el - ling coon Who was
-0 s \ \ — 1 i — 1 — \ \ ^ — fN — -fN — ^-n
I ^- — j _ _ 0 J ^ H — ^ — — ^__
^)| 1 •*• 1 • m 0 0
bom in Ten - ne - see. He made his Hv - ing steal-ing
m
-7b-
-V—-
chick-ens And ev - 'ry - thing else he could see. Well, he
^£E^
i
ffi
trav - elled and he was known for miles a - round,
^^
And he
did - n't get e - nough, he did - n't
I
get e - nough, Till the po - lice shot him down.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: aba^cde (2,2,2,
MINSTREL AND NEGRO SECULAR SONGS
287
2,4,4) ^aa^bc (4.4.4.4)- There is a slight melodic relationship between e
and a of the smaller subdivision.
429
The Voodoo Man
'The Voodoo Man.' Sung by James E. Lyon Jr., High Point, Guilford county,
about 1929. From the whole character of the song, not to mention the
structure, there is no doubt that musically also, the vaudeville origin is
certain. Note the irregular three-part form, and the fact that the refrain is
based on a pentachordal scale on e, whereas the stanza is simply based on the
G major scale.
F-398
Chorus
E5
i i i
I've been hoo-dooed, hoo-dooed, Hoo-dooed by a ne - gro
^
^
doo; I've been hoo-dooed, hoo-dooed, Hoo-dooed by a
Fine
i^
big black coon. A coon for me had a great in - fat - u -
-r^ 1
s
N
\
— tr-
— N—
— {v-
IV-
=--^
— ^ —
/ ^
K
is
IS
"^
^
fS
I'V
fS
l(\ K
1^
J^
•
0
0
•
•
^
-id-' '
tion;
Want - ed for to mar - ry me but had no
i
^
d:
^
^
sit
i=5
a - tion. When I re - fused. That coon he got wild.
^
^=^
^^
Says he, 'I'm bound for to hoo - doo this child.' He went
i
w
out and got a rab - bit's foot And burned it with a
^^
S
^
w
frog Down in the hoi - low of an old burnt log
288
NORTH CAROLINA FOLKLORE
S
5
Right by the road where I had to pass
long.
1^
*
Ev - er since that time my head's been- wrong. My bones be
i
w
gan to ache And my teeth be - gan to chat - ter;
fe
ifc
£
--t^
Went to the doc - tor and he could -n't tell the mat - ter.
i
'^-
^
^
it
Says he, 'You're a gone coon, gone up the spout.' He
t
S
S
-^-N-
-*r-^-
i
looked at my head and my hair fell- out. No-bod - y knows
D. C. al Fine
^
tJ ^
how fun - ny I feel — E - ven the husk fell ofif my heel.
Scale: Heptachordal, plagal. Tonal Center: g. (See remarks above.)
Structure: aaibcdbceb^cefdaai 3,3,2,1,1,2,1,1,2,1,1,1,2,3,3) ^ abbib^ca (6,4,4,
4,3,6). Measures 11-12 are another proof that the "poetical" structure as well
as the rhyme do not always influence the music to follow the same pattern.
It seems that the third and fourth lines of the stanza should have been con-
tracted into one line. The music certainly bears this out.
430
Ain't Gonna Rain No More
'It Ain't er Gwine ter Rain.' Sung by H. H. Hanchey of Durham, in 1919.
The recording did supply the repetition of the refrain line mentioned as missing
in the manuscript; Cf. Ill 517 footnote. For additional texts cf. EAS 10:
BT 277; APRS 322-8.
MINSTREL AND NEGRO SECULAR SONGS 289
F-399
^J'-^—J^
-- N-
1^
It ain't gwine ter rain, it ain't gwine ter rain, It
:3^=3^
^m
^ — ^—
J- -J>^ ^
ain't gwine ter rain no mo'; It rained last night an' de
Zfcl
:??
I
f-
— j^-^
mo'.
-4 • :^ 0-
night be - fo', It ain't gwine to rain no
For melodic relationship cf. ***SoA 97; OPS iii 370.
Scale: Hexatonic (6), plagal. Tonal Center: d. Structure: abac (2,2,2,2) =
aai (4,4).
'Tain't Gon' Rain an' 'Tain't Gon' Snow.' Sung by Miss Jennie Belvin,
Durham, about 1922.
F-400
^
:?^
^
-4r-^
'Taint gon - na rain and 'taint gon - na snow,
*:
^
'Taint gon - na rain no mo', 'Taint gon' rain and it
1^
^
ain't gon' snow, 'Taint gon - na rain no mo'.
For melodic relationship cf. **BT 277 (measures 1-4) ; *ASb 141 and
TNFS 107, measures 3-4 in both.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abed (2,2,2,2).
'T* Ain't Goin' To Rain No Mo.' Sung by Carl G. Knox, Durham, between
1922 and 1924. The tune is identical with that of 'Polly-Wolly-Doodle.' Cf.
SoA 97, also OPS III 370, No. 557.
290
NORTH CAROLINA FOLKLORE
F-4OI
3
Old
Aunt
Di - nah be
hind
the
pme —
S
^
lis:
'Taint gon' to rain
no
mo' — One eye out and the
t
I^
oth - er one blind — 'Taint gon' to rain no mo'.
For melodic relationship cf. *TNFS 107, measure 5 only.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: abac (2,2,2,2)
= aai (4,4).
432
Boil Them Cabbage Down
'Boil Them Cabbage Down.' Sung by Mrs. Ewart Wilson, Pensacola, Yancey
county, about 1929. For a text similar to our stanza cf. Ill 32 and 35, 17F
and 17Q ; also APPS 145. For similar refrain cf. Ill 354, No. 298 and 526,
No. 445. Cf. also III 121, No. 86A, seventh stanza; AMS 88; and TSFL
710, refrain.
F-402
i
3
:^
r^
33
I won't mar-ry a preach -er, I tell you the rea - son
^^^
why, He's al - ways in the coun - try And eat - ing chick-en
pie. Boil them cab - bage down, Turn them round and round.
I
All the tune that I can sing is 'Boil Them Cab-bage Down.'
For melodic relationship cf. **AMS 88, last three measures only.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: aba^bi (4,4,4,4).
MINSTREL AND NEGRO SECULAR SONGS
291
433
Broder Eton Got de Coon
'Brother Eben's Got a Coon.' Sung by Walter J. Miller, Trinity College,
Durham, 1919. The title is that given by the singer. The text varies from
that of the printed version. For a similar text cf. FSoA 122, 'Bro' Ephram.'
F-403
Chorus
^E^-^^^^-^f^; ;|j_i^
i — a:— 1
W
Broth - er E - ben's got a coon, — And gone on, gone on.
i
I
Broth - er E - ben's got a coon, — And gone on, gone on.
Scale: Tetratonic (4). Tonal Center: g. Structure: abab^ (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
435
The Dummy Line
'The Dummy Line.' Sung by Bascom Lamar Lunsford, Turkey Creek,
Buncombe county. No date given. The singer told this writer he had known
the song given below since 1898. In 1925 he gave it to Professor Gordon.
For a similar beginning of the chorus cf. Ill 226, No. 189; also TNFS 244-5.
F-404
:^
^
Some folks say that a dum-my can't run, Sug - ax Babe;
-b ^ > ^~-- > I . \ — ^ — ^ ^-
:t^
m
Some folks say — a dum - my can't run, Sug - ar Babe.
^^=^
:^^
-^^^
-^^
Git on the dum-my, did- n't have no mon-ey; They
^
four. —
hit me on the head with
two
by
^
=^^
Not a - goin' to ride on the dum - my no more.
292
NORTH CAROLINA FOLKLORE
-f-jj r
T — ^^ ^^ fe' ^ srn
1 — ^ — F 1
• b N
N
1 \»
iC^^ K
N
1 »<
*
V- -' J
m m •
• • J
Sug-
ar Babe. — Way down yon-der in Pas - quo - tank-
V 1 N N N
^ 1^ N
R '
I ' 1 '
0 ^
• b J^
m m & ^ *
i J 1 ^
i(\^ • ^
& V 1
\s)
K -0 Iv
*' •J
Sug-
n k ^
ar Babe; Way down yon - der in Pas - quo - tank,-
K 1 K K S
y 1 P N
is" 1
I ' 1 "
0 ' \
y U J^ ^ ' ^ .
J m 0 ^ ^
1 m r K K
f^^^
^ ^
V y \
\j m
S N
V- ;
rj fj \j
>. Jr
Sug-
ar Babe. Way down yon - der in Pas - quo - tank,- The
V , i' (I
h. rL ». ^
^
1
/■ b r
^ ^ .> lo
^ N
^ ^ 1
1 ^ 1
f? N l^ 1 l> - '
K IS
•^1
vj ^
« • • .-
•* J 1 ^
m ■■
*>*
^
• V -J-
^ ^- —
bull frogs jump from bank to bank, Sug - ar Babe. —
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: (abaiba^a^a^b)
(abaiba^a^b) (2,1,2,1,2,2,2,2,2,1,2,1,2,2,2), a rather complicated structure. aV
a2,a^, and a^ are considerable modifications of a, but as the second 'Stollen'
needs only to be similar to the first, the only feasible over-all form is a com-
pound: mm^n (3,3,8) plus m^m^o (3,3,6) = bar plus bar. The beginning
of the second 'epode,' which concludes the chorus, is the same as that of the
second 'Stollen' preceding it. Throughout, the same motive ("Sugar Babe")
constitutes the ending of both strophes and antistrophes as well as epodes.
In the over-all form, o is related to n.
437
Eliza Jane (ii)
"Liza Jane.' Sung by Bonnie Wiseman, Upper Hinson Creek, Avery county,
August 26, 1939. This version adds the chorus of No. 436 (I), which, how-
ever, is not given in the printed text. The first eight measures are very
closely related to those of F-406. The only diflference is in the use of that
melody. In the latter version, the eight measures also make up the chorus,
whereas in the present version these measures although varied constitute only
the stanza. For other textual versions cf. MSON 112; EAS 45; ASb 132,
308; TNFS 7; AMS so. NFS iv, 43-50; and JAFL iii 290.
F-405
:#=it
^
When I
go
a - rid - in',
^
take the rail - road
_ fv-^ — ps \_
^
train; But when I
go
a - court - in', I
take
sweet
MINSTREL AND NEGRO SECULAR SONGS
293
^
§^
'Li - za Jane. Oh,-
E - li
za,
:t^^
-N-t-fs — I
0 I * — ••
li'l E - U
^^— — ■ —
i
E - li
za,
li'l-
E
Jane.
Jane, Oh,-
For melodic relationship cf. **JAFL xxviii 178, compare chorus, measures
1-2 and 3-4 with measures 1-4 of our stanza as well as the ending of the
latter in both. Measure i is repeated, then followed by an extended variation;
*JAFL VI 131.
Scale: Mode HI, plagal. Tonal Center: g. Structure: aba'cdedc (2,2,2,
2,2,2,2,2) = aa^bbi (4,4,4,4). The second half of a^ and that of b^ are
identical with c of the smaller subdivision.
437
Eliza Jane
n(i)
'Liza Jane.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county, probably in 1921. Other titles given: 'Liza in the Summertime' and
'She Died on the Train.' For similar texts cf. JAFL xlv 167, No. 175 and
TNFS 231, second work song.
F-406
Chorus _,
i
^:
4^-^
^
Git a - long 'Li
poor lit - tie girl,
Git
i
i
:^-
:t
:ifc=^
long 'Li - za Jane, Git a - long, 'Li - za, poor lit - tie girl,
4^
o. 9
3
4^
t=i^
:^
She died on-
the train. The hard -est work
i
i
¥
done, was break-man on a train, Eas - iest work I ev - er
4^^=f^
^
^
fj . • * *
done, was court - in' 'Li - za Jane. Git a - long, 'Li - za,
294
NORTH CAROLINA FOLKLORE
-5s & N-
^
^
^
poor lit - tie girl, Git a - long, 'Li - za Jane, Git a -
^
=y^
long, 'Li - za, poor lit - tie girl, She died on the train.
For melodic relationship cf. **JAFL vi 131 ; ASb 132 and 308, our meas-
ures 1-4 with measures 1-4 of refrain there; also last two measures; *JAFL
XXVIII 178, measures 1-2, a variation of ours, measures 3-4 like ours.
Scale: Mode III, plagal. Tonal Center: g. Structure: abacded^eiaib^a^c
(2,2,2,2,2,2,2,2,2,2,2,2) = aa^bbia^a^ (4,4,4,4,4,4).
438
Everybody's Gal Is My Gal
'Everybody's Gal Is My Gal.' Sung by Claude James, Alliance, Pamlico
county, 1927. In its hybrid formation, this song is a typical minstrel creation.
It is evidently a composite of three distinct parts, the first of nineteen measures
ending with the last phrase "Just because I do love you." With the next part
of eighteen measures the song quoted in III 523, No. 438, begins. The text
given there would have to be put on the bed of Procrustes to make it fit. The
third part which follows, likewise of eighteen measures, seems to have nothing
to do with the two preceding parts. Thus, the whole assumes a character of
what in m.usicological terms would be called through-composed. Here, it
should be mentioned, however, that the last four measures of the second section
are heavily indebted to the last four of the first part. But two features, of
the first part especially, seem to distinguish it from true folksong, the un-
warranted interruption by the shouted 'Whoa' and the continuation of the
tune in changed meter and tempo. A peculiar psychological reaction to this
shout mentioned above should be noted. It functions like a deceptive cadence.
The character of these last four measures which conclude the first part does
not seem to fit readily into the concept of what is generally meant by folk.
To be sure, in a number of folksongs we find a different meter as well as tempo,
either at the beginning of the chorus or the stanza, whichever follows the
other in the particular case. But a sudden change, and only for the duration
of the last four measures, does not readily come to mind.
In all three parts b-flat is the tonal center, but the scalic material of one
differs; I Hexatonic (4), plagal; II Hexachordal, plagal; III Hexatonic (4),
plagal. The first part, in addition, brings a c-sharp, which does not occur in
the others. In spite of all this, however, it should be said that there are some
folk-like qualities to be found.
F-407
i
fi:
^
--^
^5
ifi:
My gal has gone and left me, my ba - by, She
MINSTREL AND NEGRO SECULAR SONGS
295
^^=^. r rr^^^^jM^
left me all a - lone. — She prom-ised to be mar-ried
3
i
S
that ba - by, The day that she left home.
f^— ^-
She
-^^
^— V
'^=^=^
V r 0
±=jiL
^
too.— I'U
Shouted
-A Pv-
*^
?;=r
:^
give her an -y- thing in this wide, wide world. — Whoa!
^ r r
^
:qr a !>
-V
Just be - cause I do love you, love you, Just be -
i
^
?
w
cause
I do love you. Now ev - 'ry - bod - y's gal
IS
^
t
^f=t^
V V \/
§
my gal
fc:?^
^4ri-f-^r-Hi
?
-V r^— t^
If you got a
W-
:^
M
good gal, you bet - ter pin 'er to your side, 'Cause if
b ^ N . ^ ^
W
^
^i^
t
she flags my train, I'm gon - na let her ride.
r 1 ? g r:
^=f:
Ev - 'ry - bod - y's gal is my
296
NORTH CAROLINA FOLKLORE
i£
:^
-^^-
^ — 5^
i- — r
> u <>-
my gal too, I say,
my gal too.
i
i=^^^^^^^
fc:^fv
w
g
^^
b s ^
N N
V— Nzr-fv— iV
^- — J S d-
4 4 4 4 zi=iL
-^
d S
n^ ;■ J
-T^ — h — s — r' i'lJ 1 — \ — n
1
— ' — 1
r^
__j — t — J * — * — * — ; — ? — 4—
-^ •
head out the win - dow 'n see a
^^^
i
SZI
^fe
^
fe^
^s
^
I
Vr-«±
I^-*^
Uh!-
Uh!-
Scale : Hexachordal, plagal. Tonal Center: b-flat. Structure: [aba^cddi]
fed2] [eeffi] [ed^d^] [ghhig] i (4,4,4,3,2,2) (2,2) (2,2,2,2) (2,2,2) (4,2,2,4)
(6). To give an over-all form of such a conglomerate is not w^ell possible.
Discounting all interrelations of the minute parts of each possible individual
form, one might say: mm^n (8,7,4) = bar plus ab (2,2) = strophe, plus oop
(2,2,4) = bar, plus rss^ (2,2,2) = inverted bar, plus cdc (4,4,4) = strophe,
plus coda (6).
407 a
0
U 1 IL ^ II
/ b
^
*
f[*
-■ r
f(\^ - * - Tl II
\s) »
^
[|
18
407 b
24
5 52
68
8
54
y ,D
' II
A b
^
m
1
i?n - "■ "
VMJ *
^
11
4
407 c
f)
4
48
58
122
24
/ 1 ^11
V b
^
»
^
T( ^^
. ' «
\sJ
•
tJ •
26
41 24 70 35 60
MINSTREL AND NEGRO SECULAR SONGS
297
In the tonal scales, No. 407 represents all the tonal material found in these
three.
441
I'm Going Down the Road Feeling Bad
'I'm Going Down the Road Feeling Bad.' Sung by Bonnie Wiseman, Upper
Hinson Creek, Avery county, August 26, 1939. Throughout there is strong
evidence of Negro influence in the manner of singing : flattening the a in the
primitive slur from a to g and again in measure 6 the noticeable 'below pitch'
of the a.
F-408
^=^^=i^
^
♦=?
Go - ing down the road feel - ing bad, I'm go - mg down
f-=?=^=^
^^^
the road feel - ing bad. Go - ing down the road feel - ing
$:
?
m
bad, And I ain't gon - na be treat - ed this - a way.
For melodic relationship cf. ***PSB 9; **FSUSA 242; BTFLS iv, 80,
No. 3 ; *TAFL 876.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
There is a slight melodic relationship between a and b. The rhythmical
similarity of the first five measures is evident.
443
I'd Rather Be Dead
'I'd Rather Be Dead.' Sung by James E. Lyon, Jr., Trinity College, Durham,
December 5, 1919. Negro fragment. Last four measures are identical with
'Gran'ma Grunts.'
F-409
=t=
£
^
rath - er
^
be dead an'
^
laid in de
dirt-
^
I
Than to see
my
gal
with her feel - in's
hurt.
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^bc (2,2,2,2) =
ab (4,4).
298
NORTH CAROLINA FOLKLORE
446
If You Meet a Woman in the Morning
'If You Meet a Woman In the Morning.' Sung by Miss Jewell Robbins, Pekin,
Montgomery county, 1921. Another title given: 'When You Hear That
Turtle Dove.'
F-410
3
^=e:
^^
:Sl
^
If
you meet
wo - man in the morn
mg,
i
^
^
-3r
bow —
Bow yo' head, bud - dy, Dow — yo'
Scale: Mode III, plagal. Tonal Center: f. Structure: ab (2,2).
head.
447
If You Don't Believe I'm Sinking
'If You Don't Believe I'm Sinking.' Sung by Howell J. Hatcher, Trinity
College, Durham, December 5, 1919. The four measures making up our
tune are repeated for each of the first two lines. The ms score gives no
indication as to how this tune is to be used for the last two lines. Cf. also
ANS 33.
F-4H
r M r
If
you don't be - lieve I'm sink - ing,
just
3
^
^
look what a
Scale: Tetratonic (4), plagal.
hole I'm in.
Tonal Center: f. Structure: ab (2,2).
'If You Don't Believe I'm Sinking.' Sung by Thomas Litaker, Trinity Col-
lege, Durham, December 5, 1919. This version confines itself to the first line
of the preceding version. It was not possible to ascertain whether this reduced
version was merely due to a lapse of memory. The ms score indicates, how-
ever, that this was a "Work song heard in Cabarrus county, N. C." Rel-
atives of the singer still reside there.
MINSTREL AND NEGRO SECULAR SONGS 299
F-412
:±t
3^
-N-
=2
M
Oh,
Lord,
you
don't be
:l^
^^
lieve
N-
I'm
^
look what a hole I'm
eink - in', jes
Scale: Trichordal. Tonal Center: g. Structure: ab (2,2). The tonal center
is the lowest tone.
448
I Got a Girl
*I Got a Girl.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
1921 or 1922. Compare this tune with another song by the same contributor:
'Negro Song,' F-571, which is practically identical.
F-413
:2:
got
gal,
she lives
town.
She
I
^
Tjr-' * *-^Jr
a let - ter she's a - com - ing down.-
wrote me
1-2
i
Scale: Heptachordal, plagal. Tonal Center: f. Structure: ab ("4,4).
449
I'm Gwine Away to Georgia
'I'm Gwine Away to Georgia.' Sung by Miss Jewell Robbins, Pekin, Mont-
gomery county, July 1922. Textually, the first stanza is identical with that
of No. 248B (III 272). Musically, only the general line of the initial two
measures shows any relation. Cf. F-217.
F-414
^^^
*=t
5^
a=i=i:
I'm — gwine 'way to Geor - gia, U'm gwine 'way to roam, U'm
JE^^=^
^
^^
^
gwine 'way to Geor -gia, chile, For to make it my home.
300
NORTH CAROLINA FOLKLORE
For melodic relationship cf. **SharpK ii 14, general melodic line;
FSSM 40, intervallic progressions of measures 3-5.
Scale: Mode III. Tonal Center: d. Structure: aa^a^a^ (2,2,2,2) ^ aa^
(4,4). The tonal center is the lowest tone.
449(1)
'I Once Loved a Young Man.' Sung by Mr. and Mrs. J. Trivette, Heaten,
Avery county, July 30, 1939. There is no text given beyond that of the
previous version as found in III 527, but the second, third, and fifth stanzas of
No. 248E (III 273) are practically identical with the first, second, and third
of our present version. Besides this, our first and second stanzas are identical
with the second and third of SharpK 11 14, No. 78. Also, the last line of our
third stanza is identical with that in iii 81, No. 50C (cf. F-58). Cf. here
FSSH 278, No. 89, second stanza, last line. Basically, there is some relation-
ship in the first part of the melodic line with that of the previous version
(F-414). Cf. JAFL XXII 249.
F-415
m
3
3
4=
young man
I once loved a
dear as my life,
dv-»-
3
^
And — he oft-times did prom-ise to make me — his wife.
Stanza 2 5.7
Stanza 3
&
^
-g^
=i^
sy
What I've come to by be - ing-
4-6
his My ba - by is in -
^
?v-#-
^
tij:
side- me, I'm bed, My — hus - band a - gam - blin', Lord I
For melodic relationship cf. *SharpK 11 14, No. 78.
Scale : Hexatonic (4) , plagal. Tonal Center : d. Structure : aa^a^b (2,2,2,2)
= aai (4,4).
2nd stanza:
He fulfilled his promise ;
He made me his wife.
And see what I've come to
By being his wife.
3rd stanza:
My baby is inside me,
I'm sick on my bed.
MINSTREL AND NEGRO SECULAR SONGS
301
My husband a-gamblin'
Lord, I wish I was dead.
450
The Yaller Gal
'1 Got a Long, Tall Yaller Gal.' Sung by Blake Harrison, Trinity College,
Durham, 1919. Our tune, no doubt, owes something to ANFS 411, No. 12.
Due to the elision in the fifth measure, the eight-measure phrase cannot be sub-
divided. The dominating feature of this short phrase seems to be the
progression from g to f-sharp which, in various rhythmical formations and
time values, occurs three times. Cf. TNFS 278.
F-416
^
i
i
I got a long, tall yal-ler gal On de road some-where.
For melodic relationship cf. *ANFS 411.
Scale: Irrational (S,6), plagal. Tonal Center: d. Structure: ab (4,4)-
'It Takes a Long, Tall, Slim Black Man.' Contributed by Eugene C. Craw-
ford, Durham, 191 9.
F-417
^
It takes a long, tall, slim black man, To make a
^^^^m
m
down.-
Ger - man lay his ri - fle
For melodic relationship cf. ***ANFS 411, No. 12.
Scale: Hexachordal. Tonal Center: c. Structure: ab (4,6). The beginning
of b is like that of a. The tonal center is the lowest tone.
451
I Went Down to My Gul's House Las' Night
'I Went Down to My Gul's House Las' Night.' Sung by Howell J. Fletcher,
Trinity College, Durham, 1920. For the first two lines of text cf. APPS
319 'Susan Jane.'
302
NORTH CAROLINA FOLKLORE
F-418
i
E^
2=5:
I went down to my gul's house las' night. She
4 J' ; t
^
met me
at
the doh. She knocked me in the head
i
I
p-
with
roll - ing pin An' I ain't been back no moh.
Scale: Mode III. Tonal Center: c. Structure: abc (3,3,2). The evident
elisions in the third, fourth, and sixth measures would account for the odd
structure. Another clear case where the musical structure does not match
that of the text. Circular tune (V).
454
Oh, Dat Watermilion
'Oh, Dat Watermilyon.' Sung by Miss Foy in 1920. No place given. Negro
fragment. For a different version cf. MSON 160.
F-419
^
1^
:4=:tz
J. R:
V
Oh, dat wa - ter - mil - yon,- spil - in' on de vine.
*
B^fe^
J2=k
Oh, how I wisht it wuz mine.
White folks am
^ M r^ fM
1^
fool - ish-
Dey ain't got a bit of sense To leab dat
S
:^
i
mil - yon spil - in' on de vine. Ham-bone am good,-
g
:^
:f^
S
i
sweet co'n am sweet,
Pos - sum's fat an' ber - y, ber - y
MINSTREL AND NEGRO SECULAR SONGS
303
fine.
Cos'n I'se gwin - ter hab it,-
cep - n
^
5
I
be a dunce To leab dat mil - yon spil - in' on de vine.
Scale: Hexatonic (4), plagal. Tonal Center: a-flat. Structure: abcdeb^cd
(2,2,2,2,2,2,2,2) = abcb^ (4,4,4,4). In the over-all form, c is somewhat re-
lated to a.
457
Run, Nigger, Run
'Run, Nigger, Run, or Paderole'll Ketch You.' Sung by Walter J. Miller,
Trinity College, Durham, 1919. Cf. Ill 510, No. 423G. The refrain there is
the same as our present text. For a textual variation cf. I 204. Also AFSCh
92; EAS i; FSoA 121; APPS 300; ABFS 299; FSF 25-8, No. 6A, and
OFS II 264.
F-420
mm
-^^-
Run, nig - ger, run or de pa - der - ole '11 catch you,
i
m
^^
:S=iC
Run
fast, stuck his head in a hor - net's nest. —
Scale: Irrational (4,5), plagal. Tonal Center: g. Structure: ab (4,6). The
beginning of b is like that of a.
458
Sally Went to Preachin'
'Sally Went to Preachin.' Sung by K. W. Litaker, Trinity College, Durham,
December 5, 1919. The ms score gives "squealed" not "squalled" as in III
533. Our second stanza is identical with that of 'Way Down in Rackensack,'
OFS III 35. The tune of our refrain is almost the same as that of F-375
(anonymous version).
F-421
-^
Sal - ly went to preach - in', she shout - ed and she squealed,
304
NORTH CAROLINA FOLKLORE
git a - long home, ne - ga, ne - ga, I'm bound for Shan-kle - town.
Scale: Alode III, plagal. Tonal Center: f. Structure: aba^cddide (2,2,2,
2,2,2,2,2) = aa^bbi (4,4,4,4).
459
Saturday Night and Sunday Too
'Saturday Night and Sunday Too.' Sung by Eugene C. Crawford, Trinity
College, Durham, December 5, 1919. Negro fragment : a work song.
F-422
Sat - ur - day night and Sun - day, too, Pret - ty
lit - tie gal
my
mind; Mon - day
:^
^
*
morn at break o' day. The old folks have me gwine.
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure: abed
(2,2,2,2) .
460
She'll Be Coming 'Round the Mountain
'She'll be Coming 'Round the Mountain.' Anonymous male singer with
guitar accompaniment. No date or place given.
MINSTREL AND NEGRO SECULAR SONGS 3O5
F-423
m^4^^
i
She'll be com - ing 'round the moun - tain when she
^^^E^
N N
i
comes, when she comes, She'll be com - ing 'round the moun - tain
^^^^
S
when she comes, when she comes, O, she'll be com - ing
fc^
^
'round the moun - tain com - ing 'round the moun - tain
^^
-^ ^ ^ • ' i
She'll be com - ing 'round the moun - tain when she comes.
For melodic relationship of. **AFSCh 90, second and fourth measures ;
AMS 71, our third and fourth measures and the second and third there;
ASb 372; WNS 200-1, Nos. 78 and lxxviii.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abed (2,2,2,2).
461
Short'nin' Bread
'Shortening Bread.' Sung by Miss Gertrude Allen, Taylorsville, Alexander
county, 1923. Cf. Talley, 83.
F-424
^^
5
5
5
Three lit - tie nig - gers lay - ing in the bed,
tP — f — f — f — f — p — r — ' — 1 — r — f—
^1^ — '^ '^ ^ — b — I. 1' ^ J ^ u —
Heels cracked o - pen like short - enin' bread. One turned
W
5
ver, and the oth - er one said, 'Don't that
3o6
NORTH CAROLINA FOLKLORE
^
I
W:
3^
look a like, Don't that look a like short - enin' bread?' —
Scale: Hexatonic (4), plagal. Tonal Center: c. Structure: aa^a^b (2,2,2,4).
'Shortenin' Bread.' Sung by Bascom Lamar Lunsford, Turkey Creek, Bun-
combe county, given to Dr. Gordon in 1925. Other title : 'Wild Horse.' This
tune is very similar to the version by the same singer as given in 31 FSSM
55. The singer, this time, hovv^ever, changes the text, as well as parts of the
chorus. Also in this recording he omits "Sugar babe," which is given in the
printed version, III 536D, second stanza. For additional text cf. FSoA 156.
F-425
i
^^^
4=t
Two big nig - gers ly - ing on the bed; One turned
i
S
£
i
o - ver and the oth - er'n said: 'Don't my ba - by love
=5?
m
1^
short - enin' bread! Don't my ba - by love short - enin',
^
i
^
^
-Tf ^
short - enin', Don't my ba - by love short - enin' bread!'
Stanza 2
:2:
i
^^J^^-U-^
~9 1*' — F ^ — \ —
1 p^ — f^ — P5 \ i
r>j
ir^^r- r S i
^ ; ^^ »^ f-_j^-4^-=^
N J
tj
L_V 0-^-^ ^ ^
1 1
^s
^
— N-
^
^i: '
For melodic relationship cf. ***AMS 81; **RAS 163; OFS 11 328-9,
No. 255A ; JAFL xxviii 142, first four measures ; JAFL xliv 424, our
initial four measures with those of 'Who been here since I been gone ?' ;
*TNFS 150-2.
MINSTREL AND NEGRO SECULAR SONGS
307
Scale: Mode III. Tonal Center: c. Structure: abcdd (2,2,2,2,2). There is
some relationship between a and b as well as c and d. Over-all form =z ab
(4,6). The tonal center is the lowest tone.
'Shortenin' Bread.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, 1922. The text of our first stanza is like that of version F, not G, as given
in printed text of III 537.
F-426
^
^^^^^
^
I^
Put
de skil - let and put on de led; Mam-mie's
:1^
^3
gwine to cook a lit - tie short - nin' bread. Mam-mie's gwi'
7^^-^ ^ ^— ilr^ r-
=F
J 1 > — ^ — i — 1^-r^
^^ — d d d ^ ^ r~
^ 1 J J i — t^t=
cook a lit - tie short - nin', short - nin', Mam-mie's gwi' cook a
^^3
=^=
W-
^^
:^
lit - tie short - nin' bread. Mam-mie's gwi' cook a Ut - tie
3
short - nin', short-nin', Mam-mie's gwi' cook a lit - tie short-nin' bread.
For melodic relationship cf. ***TNFS 150, stanza only; **SHP 14, stanza
only; JAFL xliv 424, compare with our first four measures. The song quoted
is an entirely different song.
Scale: Mode III. Tonal Center: d. Structure: aa^bcbc (2,2,2,2,2,2) = abb or
nmm (4,4,4), inverted barform. The tonal center is the lowest tone.
462
Sing Polly Wolly Doodle
'Negro Song.' Anonymous singer. No place or date given.
I^
^
— N-
F-427
^
I'm go - ing down South for to see my gal, Sing-ing
NORTH CAROLINA FOLKLORE
:^=^
c > ^ ^
My Sal she is a
Pol - ly Wol - ly du - oil doll da.-
spunk - y gal, Sing-ing Pol - ly Wol - ly du - oil doll
^SEJESS
--N-
--^^
:^=£
da.-
Fare - well, — fare - well, — fare - well, my fair
^
=£
fae, Goin' to Louis - i
to see my Su - si-
I
an - a, Sing - ing Pol - ly Wol - ly du - oil doll
For melodic relationship cf, ***RaW 92; SA 97.
da. —
Scale: Hexatonic (6), plagal. Tonal Center: e-flat. Structure: abab^cc^ab^
(2,2,2,2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar.
463
Stick My Head in a Paper Sack
'Stick My Head in a Paper Sack.' Sung by Thomas Litaker, Trinity Col-
lege, Durham, December 5, 1919. The singer came from Cabarrus county,
where his mother still resides. Mrs. Joe W. Litaker told this editor that she
had known this song for more than seventy years. She lives on a farm near
Winecoff school, Cabarrus county.
n ^
^
^ N
F-428
V 0
K N
f^
N
1
k
s
N N
/ ^ J
J
S- S"
,1^ ! ' l^ s'
IC ^ A - "■ '
«<
• _
«
J
_J__
• ^ '
w
Stick my head in
pa - per sack, Show dem nig-gers
m
^
how to Cai - ro back. Shake dat flat foot. Shake dat flat foot.
Scale: Mode III, plagal. Tonal Center: g. Structure: abc (2,2,2).
MINSTREL AND NEGRO SECULAR SONGS
309
464
That's Where My Money Goes
That's Where My Money Goes.' Sung by Miss Doris Overton, Durham,
July 1922. The music certainly corroborates Dr. White's statement, III
539-
F-429
:r=±
i
5
That's where my mon - ey goes, To buy my ba - by clothes.
^
I'd do 'most an - y old thing To keep that wo - man
-A-
¥
-0- -dr V V ^
in style. She's worth her weight in gold. My coal - black
^^^
^
:i^-i^
^ :itr
Ve - nus. Say, boys, that's where mv mon - ey goes.
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: abac (2,2,2,2)
= aai (4,4).
46.S
There Was a Watermelon
'There Was a Watermelon.' Sung by Miss Eura Mangum, Durham, 1922-
25. This belongs to the same class as the previous song, both with the
unmistakable character of such songs.
F-430
I
5*4
-^
^5S3
t^-S-
^
=S^
There was a wa - ter - mel - on
grow-ing in the
i
l=i
*:
S^^^
W
shad - ow, And in the gar - den wall there was
hole.
w
^
t7
And
skin - ny lit - tie nig - ger Said if he's a
310
NORTH CAROLINA FOLKLORE
^
lit - tie big - ger, He'd climb o'er the gar - den wall. He'd-
sneak up like a rab - bit, And then he'd grab it,
— N-
^
And ther'd be no wa - ter - mel - on there at
aU.
Scale: Heptachordal. Tonal Center: d. Structure: aba^ca^d (2,2,2,2,2,2)
z=z aa^a^ (4,4,4). The tonal center is the lowest tone.
Train
466
. Run SO Fast
'Train . . . Run so Fast.' Sung by Blake B. Harrison, Trinity College,
Durham, December 5, 1919. The Negro influence as well as that of the
popular music of the day can be seen from the chromatic alterations of an
otherwise straight-laced pentatonic mode.
F-431
-^
3
■7^
Train, train, train, train, run so fast, Could -n't see noth-ing
3
¥
^
3
but de trees- go
past.-
Don't tell
ma - ma,
^
^^^
where I'm gone. Cause I'm on my way back home.
Scale: Hexatonic (4), plagal. Tonal Center: d. Structure: aba^c (3.2,3,2)
^ aai (5,5). The fourth and fifth measures of the smaller subdivision are
really nothing but an elaborated variation of the initial three.
467
Two Little Niggers Black as Tar
'Two Little Niggers Black as Tar.' Sung by W. T. Huckabee, Jr., Trinity
College, Durham, December 5, 1919. For similarities in text cf. Ill 535,
461A.
MINSTREL AND NEGRO SECULAR SONGS
F-432
s
5
t=t
^
— gi— U-
Two lit - tie nig - gers black as tar, Try - in' to git
3
to heav'n on
'lee - trie car. De street car broke,
-0 — — # — •-
^
i
down dey fell; 'Stead a 'goin' to heav'n dey went to h. .1.
Scale: Mode III. Tonal Center: c. Structure: aa^ab (2,2,2,2) = aa^ (4,4).
The tonal center is the lowest tone.
469
Way Down Yonder on Cedar Street
'Way Down Yonder on Cedar Street.' Sung by Thomas Litaker, Trinity
College, Durham, December 5, 1919. For another textual version cf. TNFS
156-7. For a slight textual relationship cf. Ill 226, No. 189.
F-433
:2:
m4 0
Way down yon - der on Ce - dar Street, Where all dem
^
-N-
nig - gers grow e - leb - en feet Go to bed when it
^, ; ; .^
N—
^'' f'' s S
-f— d — 1
^^ — - — - — - —
J
— ^ ^—J^-^
^ J —
ain't no use, Feet stick out like a chirk - en roost.
I
^-
S
^
Shout to the Lord sham - on - yah. He will set you free.
Scale: Mode III, plagal. Tonal Center: g. Structure: abcdef (2,2,2,2,2,2) =
abc (4,4,4).
470
What You Gwina Do When the World's on Fire?
'What You Gwina Do When de World's on Fire? Sung by K. W. Litaker,
Trinity College, Durham, December 5, 1919. Compare our text with that
312
NORTH CAROLINA FOLKLORE
of FSoA 137 and NSNH 66-7. Likewise with the second stanza of III 605,
No. 547. One of the 'economical' structures : two measures thrice repeat-
ed, constitute the whole song.
f) ^
\
s
[K^
I
s
S
1
F-434
y 1 0 1
^
p
1 III
z' h ^ J
^
J
J
11 III
ff\^ f) •
•
•
^
^ 1
# 1
tj
■
What you gwin - a do when the world's on
fire?-
I'm gon - a jump in a hole o' wa - ter. What you
^
^
gwm
do
when the wa - ter gets to boil - in'?
I
I'm a gon - a kick and squeal and hoi - lo.
Scale: Irrational (2,3,4), plagal. Tonal Center: b-flat. Structure: aaaa (2,2,2,2)
— aa (4,4). The tonal center is the highest tone. Circular tune (V).
472
Guinea Negro Song
'Guinea Negro Song.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, July 1922. Cf. Talley 176.
F-435
~V , »')
k k »■ ^ »■
k - ' ' ~i
V h ^
>
^
\^
p
p
J
^
rv
((") 4. ^
J^
d" -
— ^
— ^
—J^
J-S —
— y
^
K) -0-
The En - ge - ley
he
teal
me,
And
^-
give me pret - ty red
coat
The 'Me
^
^^
^
man he ta - kee me And make me fence rail toa - tee.
Scale : Hexatonic (6) , plagal. Tonal Center : f. Structure : aba^c (2,2,2,2)
= aai (4,4).
MINSTREL AND NEGRO SECULAR SONGS
313
'Guinea Negro Song.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, 1922. This is a second recording which the singer mentions in the
letter quoted, which she wrote to this editor after she had moved to Hampton,
Va., having lost her husband, Mr. C. P. Perdue. On August 26, 1958, she
wrote with regard to Dr. Brown's statement about the sale of this Negro couple
and Dr. White's remark pertaining to it, as follows : "Dr. Brown is in error
when he says 'no slave was sold in the life-time of those two negroes.' These
two were smuggled in. The writer of 'The Seven Seas' tells of smuggling
in slaves and also Daniels tells of illegal slave traflic in his book The Prince
of Carpetbaggers. Littlefield dealt in slave smuggling. I am surprised that
Dr. Brown didn't know and write that. When I sang it first, I had forgotten
part of it, but, when I visited home. Mamma refreshed my memory and I
sang it again for Dr. Brown, singing it as the second version goes."
F-436
i
fe£
±
=*
^
The Eng-lie man he 'teal me, A
lack ta lou - li - la - na.
^^
A lack ta lou - la - lay, And car-ry me to Ber - gi - my.—
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2).
There is some slight relationship between a and c as well as b and d.
Over-all form = ab (4,4).
474
Cold Frosty Morning
'Hop Up de Doodle.' Sung by W. N. Vaughan, Durham, about 1921. The
initial skip of a seventh seems somewhat doubtful, the more so, as the
repetition (measure 5) would indicate that the singer overshot his mark. For
textual variants cf. FSoA 116 (Work Song) and TNFS 71 'Old Jessie,' be-
ginning only; also JAFL vi 131.
F-437
^
On
cold frost
morn - in
when
i
¥
^
nig - ger feels good, He'll hop
up
de hoo - die doo - die
314
t
NORTH CAROLINA FOLKLORE
^ fN s^ — \ z —
do; Have his axe on his shoul - der, he's off to
J^ \ II \ ^ N N -4^ ^
the woods, He'll hop
up
de doo - die doo - die
^
do.
Scale: Pentachordal, plagal. Tonal Center: g. Structure: abaib^ (2,2,2,2)
= aai (4,4).
475
Hung My Bucket on de White Folk's Fence
'Hung My Bucket On the White Folk's Fence.' Sung by Miss Mary Barbour,
Raeford, Holt county, 1922. Listed in catalogue as 'Hungry Bucket.' It
should be observed how imaginatively measures 3-4 are used in measures 7-8
as well as the last four measures, both of which are but splendid examples of
variation based on a very simple idea.
F-438
A
Hung my buck - et on de white folks' fence, Hain't
S
W^
-Ar-^
Jir:Jv
gF4=
:^5=i
-i5>-
i
seen my buck-et sence. Oh Lawd!-
Oh Lawd!-
iB— P
^
w
Old Aunt Di - nah, well she bounce a - round, Leave her
^g
^
-rrj^^
^=£
wood-en leg
on de ground Save her meat-skin, lay dem
5
^
i=za
^
-^^
a - way,
To
grease her wood-en leg
ev - ery day.
Scale: Mode HI, plagal. Tonal Center: f. Structure: nmm^ (6,4,4) ==
inverted barform.
MINSTREL AND NEGRO SECULAR SONGS
315
477
White Gal, Yaller Gal, Black Gal
'White Gal, Yaller Gal, Black Gal.' Sung by Miss Zilpah Frisbie of Marion,
McDowell county. Recorded at Durham, July 24, 1923. Version E of this
song attributed in III 545 to the above singer has an entirely different text.
In our recording the singer used the text of version C. For text variant cf.
TNFS 278.
F-439
fe:zE
t±
i^
in
A white gal sleeps
a
fold
ing bed,
11
brown skin — does the same.
^
A black gal makes a
^=?
pal - let, But she's sleep - ing just the same.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: aa^ab (2,2,2,2) =
aai (4,4).
'White Gal, Yaller Gal, Black Gal.' Sung by E. C. Lovell, Trinity College,
Durham, 1919. Another title given: 'Brown Gal.' This version uses as
chorus a variant of the fourth stanza of version E. It is possible that "John
and Betsy" as given in the ms score, are a misunderstood "Charming Betsy.'
i
k
IQE
F-440
Brown gal, she
pret - ty queen, Yal - ler
r^r^:
de same. Old black gal's a pic - ture of
f^=^=r\
^ — \ — N — \ —
yS I ^v—
^-i — ^-
S^ ' ^-^
^-* — t-- — J — ^-^
~-i5>
— • — •' — J
=i=^
But that's look - in' jus' de same. Goin'
o'er de moun-tain,
3i6
NORTH CAROLINA FOLKLORE
V tr 1
1S_
1 ^ N
y " \ r V ,1
J 1 P j^ ^^ N k
fr\\ m •
^
i"v 1
1 '
\A) •
.
-ii ^
1 ? • — • J — J_
John and Bet - sy,
Goin' o'er de moun-tain Co - ra Lee.
I:
-i-U^^
^
*:
$
If you get dar- be -fore I do, Do, Lord,'mem-ber me.
Scale: Irrational (2,4), plagal. Tonal Center: g. Structure: aaia2baaia2b
(2,2,2,2,2,2,2,2) = aaia2ai (4,4,4,4).
'The Bed-Bug.' Sung by C. G. Knox, Durham, 1922-24. This text, exclud-
ing the refrain, is almost identical with the fifth stanza of O. Kuykendall's 'Old
Rattler' F-166. Cf. also III 206-8 and 544-7, No. 477B, G, and H. The
refrain line can be found III 214, No. 170, and III 245, No. 214A, third
stanza. Cf. here ASb 252-3, third and tenth stanzas; and ANFS 316-9,
No. 19 and footnotes. The melodic ending of our tune reminds of that of
'Frankie and Johnnie' : "He Done Her Wrong."
F-441
t^
^
^
i-±
The June-bug has the gold -en wings, The light -ning bug the
*:
m
s
IMM^^
flame. The bed - bug has no wings at all. But he gets there
i
^Ei
*
^Epi
just the same. AU night long, — Oh it's all night long. —
For melodic relationship cf. **ABFS 112, measures 1-2 and 8-12.
Scale: Hexatonic (2). Tonal Center: c. Structure: abc (4,4.4)- The tonal
center is the lowest tone.
478
You Shall Be Free
'You Shall Be Free.' ('Oh, Nigger, You Shall Be Free.') Sung by Miss
Zilpah Frisbie of Marion, McDowell county. Recorded at Durham, July
1923. For related texts cf. RaW 124; TNFS 235. Compare the first four
measures with those of F-155; also the melodic line in general with that of
G 3, measures i and 3-6.
MINSTREL AND NEGRO SECULAR SONGS 317
F-442
^
=r=1^
^
=^3^=^
£
£
^=±1
nig - ger and a white man play - ing sev - en up.
jj4-j; j; j; j! J' J' J' ■^hrf'~?~t
The nig - ger won the mon - ey and he's 'fraid to pick
:t^
^
S
£
^
it up. The nig - ger drawed back, the white man fell. The
r=!^
^
r I I 1
-0- -0- -0-
nig - ger run like hell. Oh, nig - ger, you shall be
:1^
:f^
^
i£
:^
free, When
Stanza 2
the good Lord
calls
you
home.
e^
a=tr
^^
S
=t^^=^
N N
If
^
±:3t
^r=l
^
b—^ ^ ^
i=i
^ ^ N
^i^=^
M±=^i
Scale : Pentachordal, plagal. Tonal Center : f. Structure : abacd (2,2,2,2,4)
or mm^n (4,4,4) = barform.
482
Sugar Babe
'Sugar Babe.' Sung by Marion Bowman, Olin Township and Third Creek,
Iredell county, about 1922. For additional texts cf. RaW 124; ANS 241;
FSUSA 106 (same text). Bascom Lamar Lunsford told this writer that he
sang this tune to Dr. Gordon in 1903. Somehow, this tune seems to point to
the black-face period for its origin.
3i8
NORTH CAROLINA FOLKLORE
F-443
^
fci:
Oh, kUl - a
chick - en and - a bring
^
^
-i^— ^
me the wing, this - u morn - in'. Oh, kill
^
?
:^
chick -en and - a bring me the wing, this - u mom -in', My
i
±
T' r r
3E
hon - ey babe, my Ut - tie babe, my sweet ba - by, so
:t
^-
sweet; Oh, kill - a me a chick - en, and - a bring me
m
1^=^
' d I / /: / / J^ J^ J^ /-4-^^-^
the wing; You may think I work - a but I won't do
i
w.
^t=^
a thing, this * mom - ing,
this even - in' My
^^^
IE
I
*:
^
hon - ey babe, my lit - tie ba - by, so sweet.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abcbiddiecifdS
(2,1,2,1,1,1,2,2,4,4) = abcbidci (3,3,4,2,4,4) ; d^ of the first subdivision is
considerably modified.
48s
Shady Grove
'Shady Grove.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
1921-24. The last four lines of the first stanza, slightly modified, form the
chorus of III 341, No. 286 D. Cf. also JAFL xlix 220.
MINSTREL AND NEGRO SECULAR SONGS 3I9
F-444
#9. • 0-
^-f:
^
^ ^ ^
fEE^
Come on . girls, and le's go home, Put on yo' Sun-day clothes,
/'*-f — r—>' — Mr p' — , — ^' ^ ^ J' j'
C^ — 1/ — P — ^ — ; 1 J — J — 4 — • 0 J — - — ^ — «— ■
Wash yo' face and comb yo' head. Go down to Sha - dy Grove.
I.A_iLj^f^^^
^
^ Ps ^ 1-
J' J J" ^
Go down to Sha - dy Grove, my love. Go down to Sha - dy Grove,
i:
I
£
^^
:i=5:
Wash yo' face and comb yo' head, Go down to Sha - dy Grove.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abaica2ba3c
(2,2,2,2,2,2,2,2) := aa^a^a^ (4,4,4,4).
487
Old Aunt Dinah
'Negro Hollow.' Sung by Miss Elizabeth Janet Black, Ivanhoe, Sampson
county, 1921. Cf. JAFL lxvii 73-7, No. 263; also Mellows 165, second
stanza. The repetition of the first four measures, which are identical with
those of F-446, makes up the whole of this song. Again an extremely
economical use of material.
F-44S
Old Aunt Di - nab, ho pee, ho pee, Old Aunt Di - nah,
pee,
ho! Gwine a - way ter leave yer, ho
pee.
I
ho pee, Ciwinp a - way ter leave yer, ho pee, ho!
Scale: Tetratonic (4). Tonal Center: g. Structure: aa^aa^ (2,2,2,2) = aa
(4,4). The tonal center is the lowest tone.
487(1)
'Negro Hollow.' Sung by Mrs. C. C. Murphy, Ivanhoe, Sampson county.
No date given. As mentioned in the preceding analysis, this tune has the
320
NORTH CAROLINA FOLKLORE
first four measures in common with the previous version. But, at least, there
is another phrase which is new ; the structure shows a peculiar similarity : the
first two measures are repeated and so is the following phrase of four meas-
ures.
F-446
or Aunt Di - nah, ho pee, ho pee, 01' Aunt Di - nah,
i
^^^
ho pee, ho! Go - in' fer to leab yer, leab yer.
:4:
^
leab yer, Go - in' fer to leab yer, ho pee, ho!
i
^^^
=?=
Go - in' fer to leab yer, leab yer, leab yer,
*:
i
to leab
ho
ho!
Go - in' fer to leaD yer, ho pee,
Scale : Hexachordal. Tonal Center : d. Structure : aaiba^bai (2,2,2,2,2,2)
= abb (4,4,4) = nmm = inverted barform; in the over-all form, b is some-
what related to a. The endings of all three phrases are the same.
490
Rain Come Wet Me
'Rain, Come Wet Me.' Sung by Miss Minnie Stamps, of Wake county.
No date given. Cf. AFSCh 67; OFS 11 343; also I 203.
F-447
:2:
E^
Rain
wet
me;
Rain
dry
i
I
i£
Stand back white
man: Don't come
nigh
Scale: Pentachordal, plagal. Tonal Center: g. Structure: mmn (2,2,4)
= miniature barform. Circular tune (V).
MINSTREL AND NEGRO SECULAR SONGS
321
493
Railroad Dinah Gal
'Railroad Dinah Gal.' Sung by Miss Jennie Belvin, Durham, 1921 or 1922.
F-448
TV o ^ t
^
As I went down to Si - mon's mill, There I found a
i
&
^
ver - y steep hill. The steers be - gan to bel - low and
-N-
ifc
E
balk And
be - gan to cuss and talk — Rail - road
W
1^=^
Di - nah
I'm go
I. -^ -^
o - ver the moun - tains,
I
&
£
^
-& ^-
i'4 ^\
-j- ' *
Rail - road, my true love, I'm go - in' o - ver the moun - tains.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abab^cc
(2,2,2,2,4,4) = aa^bb (4,4,4,4). Circular tune (V).
496
Jinger Blue
'Walkin', Talkin', Jinger Blue.' Sung by Miss Jewell Robbins, Pekin, Mont-
gomery county, about 1921.
F-449
-TZ9 1
^—
— ^ — 1
y h ^ r.
t
K>
^
^
f'"\^4 ^
l-v
,N
_,>
r*'
_n
', ,
\.M> 4- ^
N
«
m
4
•
iJ •
4
Walk - in' talk - in' Jin - ger Blue,
^
-t—^
^
tell you might - y true I'm just from the Ten - ne - see
322
NORTH CAROLINA FOLKLORE
i
tains. Take a drink of beer as sweet as the
^
r=?c
£
3^
I
wa - ter That flows from the Ten - ne - see moun - tains.
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure: abab^
(2,2,2,2) = aai (4,4).
497
Mammy in the Kitchen
'Mammy in the Kitchen.' Sung by Eugene C. Crawford, Trinity College,
Durham, December 3, 1919.
F-450
4=^
i
Mam -my in the kitch-en
a - cook - in' pink beans; Oh,
^
-^
^
I
the
- cean — dodg - in' sub - ma - rines.
dad - dy on
Scale: Hexatonic (6). Tonal Center: c. Structure: mmin (2,2,4); again a
miniature barform. The tonal center is the lowest tone.
498
I've Been to the 'Bama and I Just Got Back
'I've Been to the 'Bama and I Just Got Back.' Sung by Howell J. Hatcher,
Trinity College, Durham, December 5, 1919. The singer was a student from
Mt. Airy, Surry county.
F-451
^^
fe-^:
^^-
:it=it
^
I've bin to the 'Ba - ma and I just got- back. I
I
^^^
^?=^
did - n't bring no mon - ey but I brought the — sack.
Scale: Mode III. Tonal center: c. Structure: aa^ (4,4). The tonal center
is the lowest tone.
MINSTREL AND NEGRO SECULAR SONGS
323
499
Raise a Ruckus Tonight
'Raise a Ruckus Tonight.' Sung by Charles E. Jordan, Trinity College,
Durham, December 1919. Although the printed text in III 559-60 gives a
total of seven lines to the stanza, the music seems to indicate a chorus which
would begin at "Come along." The ending of this refrain reminds of 'There'll
Be a Hot Time in the Old Town Tonight.' For another version cf FSUSA
90.
F-452
i
tuned since a - way last fall. Gon - na raise up a ru -
1^
cus to
w
^
t
^
^
night. Come a -long, my chil-dren, come a - long! Come while de
moon am shin -in' bright,-
Take a boat, an' we'll go down de
rib-ber a - float. We're gwine a raise up a ru-cus to - night !-
For melodic relationship cf. **Bowman, 136, first four measures.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aaibcdcbi
(2,2,2,4,4,4,4) ; bi is the same as b, but 'per augmentationem.' The over-all
form IS : nrnm^ (6,8,8) = inverted barform, of which the epode in itself is also
m barform.
500
Georgia Buck
'Georgia Buck.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county. No date given. "Stanza 2" is second on the record but an extra
stanza in text III 561.
324
NORTH CAROLINA FOLKLORE
F-453
5=^
^12:
:3
±1
^=b=
2. Geor - gie Buck is
dead; And the
last word he
I
2z
^
said- was 'Nev - er let no woman have her way.
Stanza 2 , ,. .. ,
«*
^
9=^^=^
^Ei
Geor - gie Buck said so; I was stand-in' on the
:2=^
^
log And when I
shot the preach-er's
dog-
^
^
J^-J^^=a
K— #
-T^
nev - er was so sor - ry in my — life.
Scale: Mode III, plagal. Tonal Center: a. Structure: abc (2,2,4).
B
'Georgia Buck.' Sung by Mrs. Silas Buchanan, Horse Creek, Ashe county.
No date given.
F-454
^
^ ^-
^
^
Old Geor-gie Buck — he died. — He laughed and he
^B
• 0-
cried — *0h rock me the era - die, law, law.'
Scale: Tetratonic (2,4), plagal. Tonal Center: g. Structure: mm^n (2,2,4)
— barform.
'Georgia Buck.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
1922.
F-455
=^
^
^
1 — r-^
4-^
I been a - round the ben' And I'm gwine ter
MINSTREL AND NEGRO SECULAR SONGS
325
I
go a - gin, Geor - gie Buck said so.
Scale: Mode III, plagal. Tonal Center: b-flat. Structure: mmin (2,2,2)
miniature barform. The epode is exceedingly short.
502
Went Down Town
'Went Down Town,' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, about 1921. The recording begins with the second line of the stanza.
The beginning of the tune is similar to the second phrase of 'There'll be a
Hot Time in the Old Town Tonight' ; it is also like the beginning of the
first World War song : 'Goodbye Broadway, Hello France.'
F-456
U-'H — ^
:^
Went down
town,
did
n't
i
I
w
i
^
-^
harm. The po - lice grabbed me by the
Scale : Mode HI, plagal. Tonal Center : e-flat. Structure : ab (4,4)
arm.
503
Standing on de Street Doin' No Harm
'Standing on de Street Doin' No Harm.' Sung by Howell J. Hatcher,
Trinity College, Durham, December 5, 1919.
F-457
g=F
^
-4— i
Stand - in' on de street
do
harm ;-
^^
I
^
long came de
the
po - lice caught me by
Scale: Duotonic (2,3,4), plagal. Tonal Center: g. Structure: abab (2,2,2,2)
=: aa (4,4). Circular tune (V). The tonal center is the highest tone.
504
A Thirty-two Special on a Forty-four Frame
The music mentioned in HI 562 cannot now be found.
326
NORTH CAROLINA FOLKLORE
I Got de Hezotation Stockings and de Hezotation Shoes
*I Got de Hezotation Stockings and de Hezotation Shoes.* Sung by Blake
B. Harrison, Trinity College, Durham, December 5, 1919. The influence of
more recent times can readily be seen from the chromatic alterations of
what otherwise is a simple innocent pentatonic mode. For additional versions
cf. NASb 98 and PSB 34.
F-458
^
^
'n
^
--^
/ ti^ J
4i^
4—^
My dad - dy drives a street - car and my broth - er
k=^
--^
drives a hack; My mam -my takes in wash - in' while
wait? Oh, kin I get you now-
Scale: Hexatonic (4). Tonal Center: d.
form. The tonal center is the lowest tone,
or must I he - zo-tate?
Structure: mm^n (2,2,4) = bar-
510
Share 'em
'Share 'em !' Sung by J. N. Corbett, reported by his daughter, Mrs. C. C
Murphy of Ivanhoe, Sampson county. No date given. This may serve as
a good example of what people, well meaning, no doubt, will commit when
trying to do what they are not qualified to do. There is no text on the MS
score as reproduced here. The music does not fit the text given in HI 565;
it is completely distorted. For another text cf. FSF 184.
F-459
^
*
^
^=^
^^3^"=^H
— N s ^
Scale : Heptachordal, plagal. Tonal Center : f. Structure : Because of the
amateurish notation it is not possible to give any definite form. It probably
MINSTREL AND NEGRO SECULAR SONGS
327
is ab, but how many measures a has and how many b, is almost anybody's
guess.
512
Johnson's Mule
'Johnson's Mule.' Contributed by Mrs. Sutton, Lenoir, Caldwell county,
between 1921 and 1925.
F-460
Ole
— « B *-i e 1 — e m. c V is;:
John - son had an old grey mule, And he
m
driv' him to a cart.
He loved the mule, and the
#
^it — * — •-
mule loved him With all his mu - lish heart.
i
-^ . « _^_
roos - ter crowed ole' John-son knowed That dawn was goin' fur to
Wi
break. He combed that mule with a wa - gon wheel And he
WW -m- - -0-
rubbed him down with a rake, And you could hear him
i=Mz
t:
^
sing Hee - haw — hee haw - hee haw - hee haw - hee haw - hee
m
^
— pv-
lir~^ ^
haw - hee haw - hee haw haw haw And you could hear him sing. .
For melodic relationship cf. **TNFS 186 ('Whoa, Mule') ; measures
7-8, 15-6, and 25-6 correspond to the same in our version.
328 NORTH CAROLINA FOLKLORE
Scale: Irrational (3,4), plagal. Tonal Center: f. Structure: aba^ca^ba^cdeeici
(2,2,2,2,2,2,2,2,2,3,3,2) = mmin (8,8,10) = barform.
513
The Kicking Mule
'The Kicking Mule.' Sung by G. S. Robinson, Asheville, July 18, 1939. This
recording evidently was made before the singer turned over his MS text to Dr,
Brown.
F-461
t^
:^^
^
s
Once there was a man, his name was Si - mon Slick, He
i
had a mule with dream - y eyes — and how that mule could
M
kick! He'd shut one eye and switch his tail and greet you
i
with a smile, He'd gent- ly raise you from the ground and
S
^?=it
^
—&■
-0-
kick you half a mile. Whoa, mule, I tell you, Whoa, mule, I
H
^-
=?F=^
say! Keep your seat, Miss Li - za Jane, And hold on to the sleigh.
For melodic relationship cf. **BSI 336-7, No. 84B, compare measures
4 and 8 with our 7-8 and 15-6; SRA 185, chorus.
Scale: Hexachordal, plagal. Tonal Center: e-flat. Structure: abcdaibcdefgd^
(2,2,2,2,2,2,2,2,2,2,2,2) = abashed (4,4,4,4,4,4) = mm^n (8,8,8).
XIII
RELIGIOUS SONGS
S17
Some of these Days
'Some of these Days.' Sung by Miss Jeanette Tingle, Alliance, Pamlico coun-
ty, in 1927. Dr. Brown notes: "With music done by one of my seniors." The
MS score does not, however, supply the missing words in the last line, but is
a typical example of the changes which take place when someone, in this
case a student, tries to please his contemporaries or a supposedly "learned
audience." The scale is a pure Mode III with the modernizing alterations
which one could expect in the circumstances. A particularly strong point,
relevant here, is the well known Al Jolson ending. For other texts cf. NWS
139 and NASb 16.
F-462
.^j^; Hi-^J^^
ut
I'm go - ing to cross the riv - er Jor
dan,
^— N-
i
i
^fci=
^
I'm go - ing to — cross the riv - er Jor - dan, (go - ing to
— ?.-
^
cross riv - er Jor - dan,) I'm go - ing tc
cross the riv - er
P^ggg
?^
Jor
dan,
^
some of these days!
For melodic relationship cf. ***FSoA 172 and 179 (compare first eight
measures with our first four) ; SCS 22, No. 10 (4th stanza has same text).
**NSNH 20; ANS 166.
330
NORTH CAROLINA FOLKLORE
Scale: Mode III, plagal. Tonal Center: g. Structure: abak (2,2,2,2) =
aai (4,4).
Long White Robe
'Long White Robe.' Sung by A. J. and J. H. Burrus, Weaverville, Buncombe
county, in 1922. All phrases are terminally incremented. For another ver-
sion cf. AMS 67.
F-463
iM;
-:iE^:^^
Can't you hand down — that long white robe? Can't you
i
^i^g
*=s
-* IV
*:
i
¥
hand down — that long white robe? Can't you hand down — that
i^
^?=?
long white robe? Can't you hand down — that long white robe?
1^
Old
Sa
tan thought he had me fast, Can't you
^
hand down that long white robe? I broke his old chain and I
^
come at last, Can't you hand down — that long white robe?
Scale : Mode III, plagal. Tonal Center : g. Structure : aba^cabiac (2,3,2,
3,2,3,2,3) =z aa^aai (S,5,5,S). Certainly a very unusual structure among
these songs, which, however, is due to the augmentation of the last three
notes in each phrase.
518(1)
'Long White Robe.' Sung by Mrs. Nilla Lancaster of Goldsboro, Wayne
county. Recorded at Durham, July 1923. For additional text cf. AMS 67.
F-464
Chorus
' / ,D c\
.
1
/ b '» N
J-v^,
s
N
S
N
S 1
^^^•^ 4 iL 1
^
I
.I^. _
1 i ' ' ' i ' 1
V >> 4- N J
•
• . J m J
{ J J J 1
t) -,- •
^
^
-#-•
^
^
^
Can't you hand down that long white robe? Can't you hand
RELIGIOUS SONGS
331
i
^
r
down that long white robe? Can't you hand down that long white
^^^^==
K ^ FT
1 h. 1
^ ■
tJ -S-'
-^-V— i-
— 1 f^ -^
^ J ^ H
robe? Can't you hand down that long white robe? Old Sa - tan
i
i^
±1
w
' — ^— • — •—
thought he had me fast, Can't you hand down that long white
l^
:t^=^
robe?
But I broke his old chain
and I come at
^
1^
:^ ^ i ^
last, Can't you hand down that long white robe?
Scale: Hexatonic (4), plagal. Tonal Center: e-flat. Structure: abacabac
(2,2,2,2,2,2,2,2) = aa^aa^ (4,4,4,4).
523
Creation
'Dese Bones Gwine to Rise Again.' Anonymous singer, no place or date
given. As there is no recording by Miss Nancy Withers, contrary to the
statement in III 580, and none given in catalogue crediting her with this
song, our anonymous version may be hers. Our text, however, is exactly that
of the anonymous version 523A.
F-465
^
^±
The Lord he thought he'd make a man, A lit - tie v
^
:^
^
bit of dirt, a lit - tie bit of sand. These old bones
f)^
\
V rr K
m '^ ^ 1
A ^
[^
N r>. 1
4
^
p
rts _i^
p ^ !
cJ
9 '
\, 1
W—^~
•
'— •—-
•
-^ — ^
^ \
gwine - a rise
gam.
I know it,
in - deed, I
332
NORTH CAROLINA FOLKLORE
ffi
^
t.
1
Vnow it., These old bones — gwine to
a - gain.
For melodic relationship cf. ***FSoA 148; EAS, No. 22; **SHP 38;
RAS 40, measures 3-4 and 7-8 of stanza only; ASb 470, the last two meas-
ures of stanza and chorus in each. It is interesting to find that the first
four measures are identical with an old German Drinking Song, the chorus
of 'Crambambuli.' Cf. also ASoWS 188.
Scale : Mode III. Tonal Center : d. Structure : aabccib^ (2,2,2,2,2,2) ; al-
though the epode is extremely short, the basic form of a bar is evident: mmno-
o^ni = bar plus bar. The tonal center is the lowest tone.
524
Daniel in the Lion's Den
'Daniel in the Lion's Den.' Sung by Camden Charles Blades, Elizabeth City,
Pasquotank county, March 25, 1916. See the note in III 582.
F-466
P^^
mong the Jew - ish cap - tives one Dan - iel there was
tJ -<5>-- -0- ' '
found, Whose un - ex - am - pled pi - e - ty as - ton - ished
^
d:
all
a - round. He was so ver - y pi - ous and
n
^^ —
y ~ 1
A
& 0
y
• r
t I
r^
• r
» 1
f"\
^i)
1
' 1
tJ
faith - ful to his Lord, Three- times a day he
I
=i:
bowed-
to
God.
snp - pli - cnte his
Scale: Mode III. Tonal Center: c. Structure: abcdcieeib (2,2,2,2,2,2,2,2)
— abed (4,4,4,4). In the last subdivision, the ending of d is like that of
a; the beginning of c is very similar to that of b, and the ending of c is
related to the beginning of d. The tonal center is the lowest tone.
RELIGIOUS SONGS
333
526
Dark Was the Night
c
III 585 says : "Phonograph recording," but none has been found.
527
Don't You Grieve After Me
'Climbin' Up Jacob's Ladder.' Anonymous singer, Greensboro, Guilford coun-
ty, 1928. Cf. SCS 2 and NSSUS 56 and 117. The last two measures with
upbeat are the same as in the Artillery Song: 'And the caissons go rolling
along."
F-467
^
l:?=l^
Oh, I'm climb - in' up Ja - cob's lad - der — don't
you
3t:
i^
5fc
grieve af - ter me; Yes, I'm climb - in' up Ja - cob's
^^-l — & fs -^-
^^n-j^i.
M^
lad - der — don't you grieve af
ter me; I'm climb - in'
^
up Ja - cob's lad - der — don't you grieve af
ter me.
^^
5
;=^
I don't want you to grieve af - ter me!
For melodic relationship cf. ***OFS 11 336, No. 262.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: aa^a^b (2,2,2,2).
529
The Gospel Train
'Git On Boa'd, Little Children.' Sung for the present editor by Dr. I. G.
Greer at his home in Chapel Hill, in 1953. The singer gave this title.
334
NORTH CAROLINA FOLKLORE
F-468
Oh, git on boa'd,-
lit - tie chil - dren, — Git on
i
iK=j^ ^
atzzit
boa'd,
lit - tie chil - dren, Oh, git on boa'd,-
:^
^
^
s
lit - tie chil - dren — Dere is room fo' man - y mo'.
For melodic relationship of. ***FSRA 145; **BANS I 126; TNFS 255;
WNS 210-11.
Scale : Mode III, plagal. Tonal Center : a. Structure : aba^c (2,2,2,2) = aa^
(4,4).
530
Hicks' Farewell
'Hicks' Farewell.' Sung by G. F. Church, Heaton, Avery county, August 10,
1939. For different texts cf. JAFL xiv 288-9. This version has the title 'The
Dying Father's Farewell' and according to the former, our text is only half
of the stanza found there. There are three stanzas given. Cf. also WSSU
202 and for further remarks, Logan, Sketches of the Broad River and Kings
Mountain Baptist Association from 1800 to 1882, 406-9.
F-469
dfi
S3
^
My
time
swift - ly
roll - ing-
That
3t;
m
when I must faint and die-
My bod - y to the
I
5
^
:^
tr
dust re - turn And there for - got - ten lie.
For melodic relationship cf. ***FSoA 7 ; SFSEA 31 ; and SharpK 11 142-
3, No. 1 22 A and F.
Scale: Mode H, plagal. Tonal Center: e(m).
= aai (4,4).
Structure : aba^b^ (2,2,2,2)
RELIGIOUS SONGS
335
534
In the Valley
'In the Valley.' Sung by Mrs. Leander Wilson, Zionville, Watauga county.
No date given.
F-470
^-.
P
5
i-i-J4J-J
^3tEi
^
It-
was in Ju - dies land by — God's Im - mor - tal hand
^^
i
w - — • — 51^^ -,__> -
That Je - sua Christ was born in the val - ley, In the
Diiif
p^
?rr-
0 •
■^r— -
ft
— i* —
— -^»—
,c^
" ^
q
— j
P^
— :J
t¥^—
— }
— U —
— V—
,,.,1;
— # 1
— 0
val
ley,
the val
ley,
That Je - sus
^^
val
ley.
Christ was born in the
For melodic relationship cf. ***BT 192.
Scale: Mode III, plagal. Tonal Center: e. Structure: abcb (2,2,2,2).
536
Jacob's Ladder
'Climb Up Jacob's Ladder.' Sung by Walter J. Miller, Trinity College,
Durham, December 5, 1919. For additional texts cf. ANS 104 (third
stanza); BANS I 59; SCS 47; OFS 11 336; OBC 120-1 ; NSSUS 117,
NWS in; and ASoWS 7.
F-471
^
^
Climb up Ja - cob's lad - der, high - er-
and high - er,
i
XT
:it=it
'Way in de King - dom. Sa - tan is a li - ar — and you
m
5fc
need -n't d' - pend up - on him. 'Way in de King -dom.
336
NORTH CAROLINA FOLKLORE
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abcb^ (4,2,4,2);
c is partially related to a.
'Jacob's Ladder.' Sung by Mrs. Ewart Wilson, Pensacola, Yancey county,
September 1929. Observe how this melody actually illustrates the "rungs
of the ladder going up." This reminds us of the same illustrative use in the
sacred compositions of the sixteenth century interpreting "ascendit" and
"descendit." Cf. also SCS 47.
F-472
TTJ''.'
2. Ev - 'ry lit - tie round is high - er and high - er, Ev - 'ry
^
=r=l?
^
--^=^
lit - tie round is high - er and high - er, Ev - 'ry lit - tie
:^^^>=H
:i^=^^;-^j:^
round is high-er and high - er; Lord, I'm on my — way.
1-4
:2-
^a; J ; S^^^
:t^
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^a^b (2,2,2,2).
C(I)
'Climbing Jacob's Ladder.' Sung to this editor by W. J. Mainer, Weaver-
ville. Buncombe county, August 1945.
F-473
m
?
:K-
:1^
2. Ev - 'ry lit - tie rung goes high - er and high - er, Ev - 'ry
lit - tie rung goes high - er and high - er, Ev - 'ry lit - tie
i
^
;^
rung goes high - er and high - er; Lord,- I'm — on my way.
Scale : Mode III, plagal. Tonal Center : f. Structure : abac (2,2,2,2) =: aa*
(4.4).
RELIGIOUS SONGS
337
537
Jesus Born in Bethlehem
'Jesus Born in Bethlehem.' Sung by E. Myers of Concord, Cabarrus county,
R.F.D., in 1924. The title is that given by the singer.
F-474
^ ' J- J-~^
Je - sus bom in Beth - le - hem, Je - sus born in
3^^pr
3^S
Beth -le- hem, Je - sus bom in Beth - le - hem, And in a
1
4 4 • \ ^) - J
^
-2=>-.
ger lay. And in a man-ger lay. And in a man-ger
i^^P
lay, Je
sus born in Beth - le-hem And in a man-ger lay.
For melodic relationship cf. ***DESO 43; SharpK 11 293; AFSCh 181;
**FHA 40, measures 3-4 and 9-12; Botsford I 28; *BT 189; TChC 6.
Scale- Hexachordal. Tonal Center: b-flat. Structure: abacddac (2,2,2,
2,2,2,2,2) = aaibai (4,4,4,4) = Reprisenbar. The tonal center is the lowest
tone.
538
John Saw the Holy Number
There is no record or score for this song, but, for additional texts cf. NSSUS
63-4 and NSNH 38-9-
539
John Saw de Hundred and Forty-Four Thousand
'John Saw de Hundred and Forty-Four Thousand.' Sung by Miss Jewell
Robbins, Pekin, Montgomery county, July 1922. For additional texts cf.
SHIS 46; NSNH 38-9; and BANS i 158.
F-47S
=^
^
i^
John
de hun - dred — and for - ty - four thou - sand, '
338
NORTH CAROLINA FOLKLORE
m
i=?
John saw de hun - dred-
and for - ty - four thou - sand,
^
^
i:
John
saw de hun - dred-
and for - ty - four
a
isr
'Xp
thou - sand. And I can't stay a - way.
Scale: Mode III, plagal. Tonal Center: c. Structure: abac (2,2,2,2) = aai
(4,4).
540
Johnny Was a Baptist
'Johnny Was a Baptist.' Sung by E. D. Cavanaugh, Trinity College, Dur-
ham, in 1921. The title is that given by the singer. Cf. our song F-492.
F-476
±.
^' ; ; ;_
t
:^^
John - ny was a Bap - tist, O yes! John-ny was a
i
^
Bap - tist, O yes! John-ny was a Bap - tist, Bap - tist.
I
^
Bap - tist, John - ny was
Bap - tist,
yes!
For melodic relationship cf. *TNFS 253, the constant repetition of "Oh,
Yes" ; otherwise very slight melodic relation, mostly, however, rhythmical.
Scale: Irrational (2,6), plagal.
(2,2,2,2) = Reprisenbar.
Tonal Center: e-flat. Structure: aa^ba
542
The Lone Pilgrim
'The Lone Pilgrim.' Contributed by Mrs. Maude Minnish Sutton in 1921
or 1936; see notes in III 599. At least in its basic outlines F-479 is similar
to the present version and F-478. As Jackson (SFSEA 47) mentions,
quoting Miss Gilchrist (JFSS viii 77), this tune is identical with 'Braes
o' Balquhidder.' Cf. also Jackson's article in MQ xxii. No. 2, showing the
RELIGIOUS SONGS
339
relationship of this tune with Stephen Foster's 'Linda Has Departed' and
NGMS 187.
F-477
i
came to a place where a lone pil - grim
^
-<s>-
lay.
pen - sive - ly stood by the tomb; —
i
-f^-
When
low whis - per I hyerd some -thing
i
e
w^
say, 'How- sweet - ly I rest here
For melodic relationship cf. ***SFSEA 47.
a - lone.'-
Scale: Mode III. Tonal Center: c. Structure: abca^ (4,4,4,4). The tonal
center is the lowest tone.
A(I)
'The Lone Pilgrim.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county. No date given. Although this version is considerably altered, it is
nevertheless closely related to F-477.
F-478
m
4i
^^
I came to a place where a lone — pil - grim lay,-
gy •
And I
pen
sive - ly stood by the tomb; When
i
¥
^
'^=^
low whis - per I
^
heard some-thing say, —
I
'How-
sweet
ly
rest
here
a - lone.'
340 NORTH CAROLINA FOLKLORE
For melodic relationship cf. ***SFSEA 47.
Scale: Mode III. Tonal Center: c. Structure: aba^a^ (2,2,2,2). The afi
is considerably more varied than a^, although it occurs before the latter.
The tonal center is the lowest tone.
'The Lone Pilgrim.' Sung by Ephraim Stamey, Altamont, Avery county,
July 14, 1940. Our melody is closely related to that of F-475 and F-477,
although the tonal material is not entirely the same.
F-479
^
^
^
I came to the place where the lone pil - grim lay,
i
e
15'-^
rSi
^
And-
pen - sive - ly stood by -him tomb; When
:^
i^
low whis - per
heard some-thing say,
J ^ rzi^psjEg^
1
5^=it
'How — sweet - ly he rests here a
For melodic relationship cf. ***SFSEA 47.
lone,'-
Scale: Tetratonic (4). Tonal Center: c. Structure: aba^a^ (4,4,4,4). Here,
too, a2 is more varied than a^ although it occurs before the latter. The
tonal center is the lowest tone.
543
Mary Wore Three Links of Chain
'Mary Wore a Golden Chain.' Sung by Blake B. Harrison, Trinity College,
Durham, December 5, 1919. Two different titles are given in the catalogue
for this air : 'Mary Wore Three Links of Chain' and 'Mary Wore a Golden
Chain.' Our tune is identical with that of 'Mary Had a Little Lamb' and
'Merrily We Roll Along.' For additional texts cf. FSoA 103; FSUSA 376;
ANFS 60-63 and FSF 168-9. Also SNE, 8, No. 4, second stanza.
RELIGIOUS SONGS
F-480
i
m
^3
i±s
Ma - ry wore a gold - en chain, Ma - ry wore a
i
£e^
^=^=^
gold - en chain, Ma - ry wore
gold - en chain;
i
:=i=
^
Ev - *ry link in Je - bus' name. All my sins been
i
tak - en a - wav. tnk - en « - wnv.
For melodic relationship cf. ♦*NSNH 18, chorus only, general melodic
line.
Scale: Tetratonic (4). Tonal Center: g. Structure: abacac^ (2,2,2,2,2,2)
=: aa^a^ (4,4,4). The tonal center is the lowest tone.
545
Pharaoh's Army
'Pharaoh's Army.' Sung by Mrs. E. Wilson, Pensacola, Yancey county,
September 1929. This is a fragment of the song of which the initial measures
(the first two lines of the text given in III 603-4) ^re missing. The recording
was very poor. There is no chorus marked in the printed text of version
D. Although one cannot definitely say what the melody for the first two
lines actually is, nevertheless it might be assumed that, since the last four
measures are like the first four of the fragment, the actual beginning of the
song might be like or similar to measures 5-8.
F-481
^
3
*
s
^
Pha - ra - oh's ar - my got drownd - ed.
i
^
^
Ma - ry, don't you weep.
Ma - ry, don't you
^
^
*=?:
*:
weep, don't you mourn,
Ma - ry, don't you *
342
NORTH CAROLINA FOLKLORE
^m
weep, don't you mourn. Pha - ra - oh's ar - my got
I
drownd
ed.
O
Ma
ry, don't you weep.
For melodic relationship cf. ***ANS 176; RAS 62; **JAFL xxvi 156,
compare our first and last four measures with its last four; *ASb 476-7, our
measures 9-10 with 13-15 there; FSoA 143, compare our measures 9-10 with
5-6 there; ANFS 406; and PSB 20.
Scale : Hexachordal, plagal. Tonal Center : a. Structure : aba (4,4,4) with
the first part missing. Basing the analysis on the above mentioned assump-
tion, however, we would have a compound structure : mm^nmm^n (2,2,4,2,2,4)
= bar plus bar.
547
Rock of Ages
'Way Down Yonder In the Lonesome Valley.' Sung by Miss Jewell Robbins,
Pekin, Montgomery county, in 1921. The singer, using the text of the second
stanza, changes nevertheless the second, fourth, and eighth lines to those of
the first stanza. Compare this song with F-434. As only one stanza was
recorded, it is not possible to determine whether or not the shortening in
measure 14 was intentional or accidental. Compare, however, the preceding
measures 2 and 12. For additional texts cf. JAFL xliv 423, No. 9; WNS
225, No. cix; and ANS 60.
F-482
^
i^
2. What you gon' to do when the worl's on fiyer?-
±1
^ — fv
m
-p^ — f
^
Clef for me, clef for me, What you gon' to do when the
I-I — ■ — ^1 —
€ v^ — h — - — - — • — J — • — ^— — ^ — J — - —
worl's on fiyer? Clef for me, clef for me, What you
.
^ u
t\
K
1
^
1
/ 1 '^
^ 1
^
y ^
^ J * J
• #
1*
' '
fr
^1/ -
^
^
;
^
1
• J
^ ^
\-
) :J
'
^
^
VJ
'
"*■ —
^
gon' to do when the worl's on fiyer? Let God's bos - om
RELIGIOUS SONGS
343
I r B
^
low. Hide me —
be
my-
pil
the
I
^"^^r^
W
rock of a
ges,
Clef for me, clef for me.
For melodic relationship cf. **NSNH 66-7, observe points of cadences
and similarities in the general melodic line.
Scale : Mode III, plagal. Tonal Center : e-flat. Structure : abaib^a^cdb
(2,2,2,2,2,2,2,2) = aa^a^b (4,4,4,4). It should be noted that the ending of b
is the same as that of a.
'O, My Loving Mother.' Title given by anonymous singer. The ms score
shows no date or place. Cf. F-434,
F-483
^
m
^
^^=F=
'-^
O my lov - in' moth - er, when the world's on fire, —
rJ^-i! r g
1
-g^— #-
Don't you want God's bos - om
to be your pil - low?
^
:i J i^^;-^^u
3
^
O he me
and the Rocks of A - ges,
?^
^
I
?
-2=^
-^—^'
ZESl
The Rocks of A - ges that was cleft for me.
For melodic relationship cf. ***FSoA 137; ANS 60; and WNS 225.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: aa^bcdb^cid*
(2,2,2,2,2,2,2,2) = nmmi (4,6,6) = inverted barform.
'Jacob's Ladder.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county, in 1942. Another title given : 'Hide-a Me.' The beginning of our
tune reminds one of 'Old Time Religion.' The text is almost identical with
that in NSNH 66-7. Some textual similarity can also be found with the A
344 NORTH CAROLINA FOLKLORE
version of our song. The melodic line of 'When the World is All on Fire'
is the same as that of 'I Came from Alabama' in Stephen Foster's 'Oh,
Susannah.' Compare also 'Every little rung gets higher and higher' in
F-472, and F-434.
F-484
^
^^
¥
When this world is all on fire, — Hide - a
^
Hide - a
me, When this world is
aU
fire,-
Hide - a
me. When this world is all on
fire,-
^3
^
^
Let God's bos - cm
be
my
pil - low. Hal - le -
^
5fc
lu Rock of A - ges, Clef — for me.
For melodic relationship cf. **NSNH 66-7 last four measures.
Scale : Mode III, plagal. Tonal Center : g. Structure : aba^c (2,2,2,2) = aa^
(4,4). In the smaller subdivision it should be noted that c is related to a.
549
Ain't Gonna Worry My Lord No More
'Ain't Gonna Grieve My Lord No More.' Sung by W. S. Sander, in 1919
or 1920. No place given. One catalogue gives the singer as W. H. Lander,
student, at Trinity College, Durham. For additional texts cf. SHIS 64;
ASb 250; JAFL XXVI 374-5, and SCS 14-5.
F-48S
m
^
-^
^
-*-r-
O, down in the val - ley where I was told The grace of
^^
God
bet - ter than gold. Down in the val - ley where
RELIGIOUS SONGS
345
i
^
^
gv I I \s
I:
told Grace of God
•A- N N —
^
bet - ter than gold
fs
Ain't gon - na grieve my Lord no more, Ain't gon - na
I:
m
^
t:
^
^i^H
grieve my Lord no more, Gon-na grieve my Lord no more.
For melodic relationship cf. ***SCS 14-5; compare our measures five
to fourteen with the chorus and part of the stanza there.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abcc^c^a^b (2,2,2,
2,2,2,2) 3= abai (4,6,4) ; a^ is rhythmically modified and omits the second
measure of a. This is not in any sense a three-part songform.
550
All God's Chillun Got Shoes
'All God's Chillun Got Shoes.' ('I Got Shoes'.) Sung by Alfonso Coleman,
Alliance, Pamlico coimty, in 1927. Contributed by J. P. Boyd. Cf. Mellows
156.
F-486
^^^^
^
I got shoes, you got shoes, All God's chil - lun got shoes;
^
When I get to Heab - 'n gon - na put on my shoes.
1
■^J^4_J
I'm gon - na shout all ob - er God's- Heab - 'n,-
irnri
^
^^
w
Heab -'n,-
Heab-'n-
Ev - 'ry - bod - y talk - in' 'bout
346
NORTH CAROLINA FOLKLORE
— N-
m
#^±^
-TT^
Heab-'n ain't- go - in' there, Heab-'n,-
Heab -'n,-
ZI^
gon
na shout all ob
God's- Heab - 'n.-
For melodic relationship cf. ***ANS i8o; BANS i 71; there is an elision
at the end of the first phrase and the beginning of measure eight.
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (4,4,4,4). The
overlapping of the cadence and the beginning of the last phrase is quite evident,
especially when compared with measures 7-8 (elision). Cf. above remarks
to BANS I 71. In the above analysis, d is partially related to c as well as
the ending of b.
551
All My Sins Been Taken Away
'Down In the Valley to Pray.' Sung by the Pittman Brothers, Hand, N. C,
August 21, 1939. The title is that given by the singers. Actually, the brothers
sing a duet, the second voice echoing the first, a common practice with Negro
choirs. The second voice was not added in the score. Cf. NS 63, last stanza
and first stanza of following song. The first line of the chorus given in printed
text also occurs once in the first stanza of No. 363 (III 430- There is no
tune for the chorus in our version. For additional texts cf. RAS 60 ; FSoA
103; ANS 158; SCS 12; and FSF 168-9, refrain only.
F-487
^
i
-0-
3. As
I went down — in the val - ley to
pray,
^
^=£
As I went down-
the val - ley to pray, —
^
As I went down in the val-ley to pray, My soul got
-9 i
VT N
N
N
\
^
fS,
.
ff^ s
[^
K
f^
l^
1
N
V-; J^
J^
J
d •
^
-#-
^
hap - py and I stayed aU
day,
AU
my
RELIGIOUS SONGS
347
m
^
s
^ H H 0
sins are tak - en a - way, tak - en
^
way.
Scale: Pentachordal. Tonal Center: c. Structure: abed (2,2,2,2). The
tonal center is the lowest tone.
Second stanza :
I'll tell you what I never will do
too
3rd stanza :
Oh, if I could, I surely would
Sit on a
4th stanza :
I've been redeemed by the blood of the Iamb
Saved and sanctified I am.
5th stanza :
If you get there before I do
Tell ev'ry child I'm coming too.
(This is all the text that could be gleaned from the recording).
552
Angels Roll Dem Stones Away
'Sister Mary Came A-Seeking Religion.' Anonymous singer. No date or
place given. The ms score has no text but there seemed no other more ap-
propriate place for this song, especially considering the first line of the text
given in III 610. For other texts involving 'Mary' cf. Ill 652, No. 611;
WNS 170 and 150-1, No. 8; BANS 11 180; and WSSU 234, No. 7.
F-488
^
:^=it
^
-J—J-~4-
-:^-
i
^— ^ — N
^^
^
=N— S
:i=t-f^-r
^ — ^ — N-
:i=^
^S
-^
i£
^
tj -0-' -0-
W^
^
348 NORTH CAROLINA FOLKLORE
Scale: Hexachordal. Tonal Center: c. Structure: abed (2,2,2,2) = ab (4,4) ■
The tonal center is the lowest tone.
553
As I Went Down In the Valley to Pray
'Down In the Valley to Pray.' Anonymous singer, Lenoir, Caldwell county,
between 1921 and 1925. Contributed by Mrs. Maude Minnish Sutton, who
almost never gives credit to any of her singers. For additional texts cf.
SOCG 44; SS 54; and NSSUS 78. Compare our measures 9-10 with F-
493, measure 7.
F-489
J .T 1 1
V^=^
— N-
-=^=
ft
1
-N—
— ^-
^ K—
Ml' ^ A ^
% ^
W
— '
^
^ 1'
VSv ; 4- •
4-
'
W WW
• - J
tJ
^
sis - ters, le's go down, le's go down, le's go
i
?=
W
down, O — sis - ters, le's go down, down-
in the val-ley to
i^
-g— ^
^^^EE^
^4^-*-
pray.
f)
As
I went down in
the
val -
ley
to pray,
y m
m
K
\
/ u
\' r d
f
r
r
P J
^
^^ ^
yi '^j
"^j \j
,
Vs>' y
V /
y V
V
V
V
• 9
0
Stud - y - in' a - bout that good old way. And who should
I
w
%J
wear the star - rv orown : Oood T^ord, — show me the way.
For melodic relationship cf. **WNS 166-7, No. 30; the melodic relation-
ship is not evident at first sight, but our third measure is identical with the
fourth there. Then, beginning with our measure 5 and comparing this with
the melody beginning with the second half of measure 5 there, up to the double
bar, the relationship will be clear. The same is true of the last four meas-
ures ; *ANFS 406, only measure 7.
Scale: Hexachordal, plagal. Tonal Center: g. Structure: aabb^ (4,4,4,4).
Taking, however, the last eight measures as one unit, we have mm^n (4,4,8)
:= barform.
A(I)
'Down In the Valley to Pray.' Anonymous female singer, probably at Blow-
ing Rock, Watauga county, in 1936. Although the first measure with up-beat
RELIGIOUS SONGS
349
is identical in melodic progression with that of F-489, there is no other
similarity with the possible exception of the melodic turn at "crown, Good
Lord." Also the latter part of measure 2, which shows the same intervalhc
progressions as measure 7 of F-489. For additional text cf. NSSUS 78.
F-490
±Z,
gg
^^^^^^^^^^^^p
O fa-thers, let's go down, down in the val-ley to
to pray.
*
^
Stud - y - ing a - bout that good old way, And who shall
P^33^^
^^^
=^^^
I
wpar a star - ry crown; Good Lord, show me the way.
For melodic relationship cf. ***SOCG 441 ♦*WNS 166, No. 30; SFSEA
209, No. 207; *SS 84, No. 104, measures 1-2.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: nmmi (4,4.4) =
Inverted barform. Circular tune (V).
The note in III 611 says: "Phonograph recording, July 1922." There were
two records marked 10, one supposedly containing this version B. One of
these records was destroyed in transit to the Library of Congress, and the
other, marked X, turned out to be O. There is, therefore, no tune available.
554
Babe of Bethlehem
'Ye Nations All.' Anonymous singer. No place or date given. See the note
in III 612. Although textually the last lines are missing, it seems quite
evident that, as the remaining melody going with these lines is also missing,
the last two lines as given in III could well be sung to measures 5-8 of the
first phrase. It is interesting to find that Jackson considers "To royal Jews
came first the News" as chorus. This seems to be confirmed by TSFL 757.
F-491
fcS
i
^
Ye na - tions all,-
you
I call, Come view this
350
NORTH CAROLINA FOLKLORE
i?=:fc
J2=^
:::fv:
sa - cred ra - tion, And don't re - fuse this glo-rious news,
=i=
IS
And Je - sus and- sal - va - tion. To loy - al Jews came
I
^^t^
tJ
first the news Of Christ the great- Mes - si
For melodic relationship cf. ***SFSEA 82; TSFL 757-
ah.
Scale: Hexatonic (3), plagal. Tonal Center: e-flat. Structure (as it stands,
incomplete): abab^cb^ (2,2,2,2,2,2) = mm^n (4,4,4) = barform; b shares its
ending with a. If the assumption expressed above could be proved, we would
have: aa^ba^ or a Reprisenbar. As it stands: circular tune (V).
555
Baptist, Baptist Is My Name
'Roll, Jordan, Roll.' Sung by Mrs. Alice Cooke, Boone, Watauga county,
about 1922. Judging from the tune as recorded, the last two lines of the
printed text (III 612) constitute the chorus, although they are not so in-
dicated there. Furthermore, according to the tune, there must either be a
repetition of a line or some additional words. Cf. F-476.
F-492
-y-^
N 1
y '^ \
N N N_
N ^ ^ ^
N ^ ^ ' 1
i( ^ '\ i ' i ' 1' '
i 1 R
J . 1
\s ^ 4- J J J J
.9 «' s s
Bap
- tist, Bap - tist is my name, And Bap - tist 'till
I
y
t. k. k. k.
^
K
/ 1
-g-^
>,
^ N_ f^
N N N V
ft ^
C
gi
^
V- >> I ■ -' '
S S ^ a!'
■^ ^
die;
n
When I am dead it can be said You've laid
one
/
'^ ^
y ^ ru
N N \ fL
^ ^
((^ \ 1^
N R • J N ^
[^ 1^ [V S
N
v-U J !
R
Bap -
0
tist by. Come a - long to the meet - ing in here
to-
y N ^ N ^
\c '^
y K < r a a
^ K N h
fVi i^
• « ■ N
iJ
VL> p'
• - 1
_i^
t) 0
• i
f •
•
night, Come a - long to the meet - ing
here
to
RELIGIOUS SONGS
351
:fc
--t
night, To the meet - ing
to the
-A \-
meet - ing in-
^^^3^
Roll, Jor - dan, roU,-
roll,
Jor - dan,
roU;
I'm
r- t
goin'
to Heav - en
--N-
I^
=^
■^
^
I
when I die. ---------------
For melodic relationship cf. ***Dett 222, first eight measures; ASb, our
chorus and the tune given there; WSSU 264, chorus; Dett 52, chorus: **ANS
199, chorus; SS i, chorus; BANS i 105, chorus; SCS 51, chorus; *JAFL
XLi 583, our initial two measures of the chorus with the first measure there.
Scale: Hexachordal. Tonal Center: c. Structure: aa^bcde (4,4,4,4,4,4). There
is an evident relationship between the beginnings of c and d, as well as the
endings of c and e. Our tune presents several possibilities of analysis: aa^
(4,4) = strophe (the elisions in measures 4 and 8 are evident) ; bb^ (2,2)
= Stollen, StoUen, and c(4) epode = bar; the chorus abed (2,2,2,2) =
strophe. This is a compound form. One could, however, consider the first
eight measures as two Stollen and then the last eight as epode. This would
then be strophe plus bar. The tonal center is the lowest tone.
557
Cain and Abel
'Cain and Abel.' Sung by Dr. Newman I. White, Durham, in 1923 or 1924.
F-493
^
fc^
Well, The Good Book says that — Cain killed A - bel,
:^
Yes,
A - bel, That he hit him in the head with the
;s==v
leg of a ta - ble. Yes, Good Lord. — Did - n't Dan - iel
NORTH CAROLINA FOLKLORE
i=f=
?
--^
-^
the li - on's den Say un - to dem cul - lud men,
^
-y ^ k" k" !*■ 1'—
Get yer long white gown and pass 'em a - round And be
^m
?
V— t/-
read - y when the great day comes. Oh Lord, I'se read
:|^=i:
:i^
^
3^
Oh, Lord, I'se read - y, I'll be read - y when the
?=^
w
glo - ry
great day comes. Oh
Hal - le - lu
-Z5»- •
jah!
For melodic relationship cf. **RAS 100-4; 102, measures 3-6; 103, meas-
ures 3-6 and 12; 104, measure i.
Scale: Hexachordal. Tonal Center: b-flat. Structure: aa^bbi cdd^e (2,2,1,
1,2,1,1,4). As over-all form it would be: mm^n (2,2,4) plus oo^p (1,1,4) =
bar plus bar. The tonal center is the lowest tone.
558
Can't Cross Jordan
'Can't Cross Jordan.' Sung by Miss Pearl Webb of Pineola, Avery county;
recorded at Boone, Watauga county, September 9, 1939. Other titles given
are : 'They've Taken My Lord Away,' and 'They Led My Lord Away.'
Observe the rhythmically different exploitation of the same melodic material
as found in measures 5-8 and 10-15.
F-494
^
^^
l^
Can't cross Jor - dan and you can't go 'round,
^f^E
Can't cross Jor - dan and you can't go 'round, Can't cross
RELIGIOUS SONGS
353
^3
Jor - dan and you can't go 'round, Got no Je - sus
N ^ I >t
^
a N-
^
^> J d 1-^
you'll be sure to drown. They've tak - en my Lord a
3
;^^=n:
-^ — ^-
:t=t:
way, a - way, a - way, They've tak - en my Lord — a ■
I
H J. J I J:
way.
Stanza 2
4-7
Oh, tell me where
to
find—
him.
±-A
iE?EB
r * f
E
:2:
U > !
W — U-
;-— ^
Stanza 3
1-7
^ f ^
nrtr-r^
2i^
^ d d
T^— i
^
N — N
tc±i=t
Stanza 4 (5 in text)
l^
^
# ^-— ^
^
W W
#— ?^
.1^ — \ — 1 \ — \ ,^ P' J ^ ^. f* -r f* ^ J' " i*^ -i*^'
Stanza 5 (4 in text)
1-7
P^^
:?r— &
N-i^-
S
^00 W=^lt
^
I^
-J^ ^
^-^i:^-:^-
:t=±5
-^-f^-
^^-*-
?=^
t^=^-
jtDt
354
NORTH CAROLINA FOLKLORE
Stanza 6
1-7
S^
■±=±-
t=3L
^
r— I i^ li -f — F — ^
S ^ —li
Stanza 7
iiS:
2=±
^ ,^
4v=m
d m S
-N — N-
^
3tzt
:t=t:
is — !v
iv—jv
A— N-
3
^ P
^^—^
-jtzi.
^-^ 1/ U
-^— »^-i-^
Chorus i
^
r— K-
iSt
iv— jV
^
^=2=
4 4 d
5 also
TT — r — r — F-
=?*^— IV— ,—
7-8
— r V-
— ^ f~
— 1 —
^. «> J
—4
-4-
=^=>t=
-4-4-
—ri
For melodic relationship cf. **ANS 102, beginning of our chorus and meas-
ures 1-5 there (only the melodic line, not the rhythmic design) ; *WNS 182,
No. 54, measures 1-2 with our 3-4.
Scale: Mode III, plagal. Tonal Center: f. Structure: abcdefg (2,2,2,2,4,2,2).
As over-all form we would have: abed (4,4,4,4).
This record, according to the catalogue, was destroyed in transit to the Library
of Congress.
559
Christ Was a Weary Traveler
'Christ Was a Weary Traveler.' Sung by Will (Shorty) Love, Durham, De-
cember 9, 1939. For additional text cf. NSSUS 162.
RELIGIOUS SONGS
355
r"-495
^
^4=1^
^
r^^^=^
tj
Christ was a wea - ry trav - 'ler,-
He went from
i
1
w
" ^' Ifr
door to door; His
cu - pa - tion in life-
^
?
i:
Was
min - is - t'ring to the poor. My work - 'U
i
^
It
:^,
al - most run, My
soon be end - ed, My race
I
^
i^
work -'11 soon be end - ed, And then I'm go - ing home.
Scale : Hexachordal, plagal. Tonal Center : f. Structure : aa^bbi (2,2,2,2) .
562
Come, Thou Fount of Every Blessing
'Come, Thou Fount of Every Blessing.' Sung by Mrs. S. F. Banks, Alliance,
Pamlico county, in 1927. Dr. White noted (III 616) : "This, and three other
songs" and "This one 'sung by negro' " ; but apparently no recording was made.
When Dr. Brown noted: "The new thing is the chorus," he evidently was re-
ferring only to the additional words of the latter, because if the chorus is
melodically new, the stanza would be likewise, as both are the same. For
additional text cf. ASoWS 96, where the text of the stanza is identical with
ours, but the chorus is totally different.
F-496
^
pi
— # —
ing.
i
Come, thou fount of
I N-H^-i
ry-
bless
fe-?^
Tune my- heart to sing- Thy- grace. Streams of — mer
cy
356
NORTH CAROLINA FOLKLORE
i=R:
^
c— fV
nev - er — ceas - ing Call for — songs of loud - est- praise.
:|!^
We
will walk through the streets
of the cit
HV-N-
-?N
Where our friends have gone be - fore; We will- sit on the
H N-^ I I
:^
-^r-#-
-N—
1
banks of the riv - er, Where we — meet to part- no — more.
Scale: Phrygian Pentachordal.i Tonal Center: e(m). Structure: aa^aai
(4,4,4,4). The tonal center is the lowest tone.
iThis should not be taken to mean that the melody is in the Phrygian
mode, as characteristics like the so-called confinalis or dominant (in this
case c), and the typical cadence, are missing.
564
Didn't It Rain?
'Didn't It Rain?' The note in III 617 says "With music"; but no record
or MS score can be found.
'Didn't it Rain?' Sung by Thomas Litaker, Trinity College, Durham, in
1919. Besides the MS score there is also a recording (No. 16), which shows
only a minor difference from the text of ANFS 141, namely the change of
Jonah to Noah. In the blue catalogue, as record No. 16, fifteen songs are
mentioned, of which, with the exception of No. 2, the first ten are credited to
Thomas Litaker. The exception. No. 2, is the only one credited to J. P.
Boyd (1919) and is a totally different song. As mentioned under version
A, no music can be found to the present song as furnished by the last mentioned
contributer. There are only minor differences and additions to the text given in
III 618. For an additional version cf. BSS 25.
F-497
-f^ 1
f^j
_. N_
/ '+ 1
1 N ^ - -
f"\ 4
J ' ' '
A
^
r r
V
;
r r
vLJ *+ '
•
4 J J
A J
J
J 1
tj
9
Old
No
- ah
got
* 4 m
mad cause de
rain kept
\ ^
a
9 m
drop-pin',
^
.• —
3
\J
K
N __
K _.
1 I*'
n P
J 1 ' i ' 1 '
(S —
J J
1
^"
1 4
«
-#
•— «
— <&
— : 1
tJ
4
Did - n't
rain,
O,
did - n't
It
RELIGIOUS SONGS
357
^
rained for - ty days; for - ty nights with - out stop - pin',
H 1 ^ N K-
:^
I
Did - n't
it
rain,
O,
did - n't
it
Scale: Mode III, plagal. Tonal Center: g. Structure: aba^b (2,2,2,2) = aa^
(4,4).
'Didn't it Rain?' Sung by Claude James, Alliance, Pamlico county, in 1927.
MS score and record. All other stanzas but the one given in ms score begin
with the up-beat of the third measure. There is one more exception to the
score, the second stanza skips from the eighth to the penultimate measure,
thus omitting the next six measures. Incidentally, the ending of the second
stanza also differs, as given below. The third and fourth stanzas are like
the first. Not all of the words could be understood.
F-4Q8
^e
s:
lEi^
-^^-^
Did-n't it
-G>-
rain, O
Lawd! — did-n't it rain? —
i
:^
:^
Re - mem- ber good
Lawd,-
did - n't
rain?
i
w
N N -g
£S
:2zii:
-^ ^ ^
-^ — V-
Foh - ty days an' fob - ty nights wid - out stop-pin'.
u
N — \-
m
N N ^
5S^
iz:t
^^-^
de rain stops drop-pin'
J' , H-
1 —
— ^ — I —
3 t
— ;: -^.- ^ — \ h-
—A
%' J' .f^-
=*^=iv
i^j-j4a^==^
^
de rain stops drop - pin'
good Lawd,
3
#=?
did- n't it rain?
358
NORTH CAROLINA FOLKLORE
Scale: Mode III, plagal. Tonal Center: f. Structure: abcdd^e (5,3,2,2,2,2).
As over-all form this would be: abc (5,3,2) = strophe plus mmin (2,2,2)
■■^ bar. Another compound form.
The second stanza ends thus :
p. 10— ID
rain, God knows it — rained.
566
Down by De Ribberside
'Down by De Ribberside.' Sung by W. J. Andrews, probably in Raleigh.
No date given. See III 619. For additional versions cf. RFSN 167 ; ASb
480-1 ; and SNS 60-2.
n X 1
F-499
/-in
1^
^ ^
.
N
s
N h.
/n T J J
— J—
—J^ P
1
— T
— -S — ^^^ \ —
^>-4-*^ ^—
— * •-r-
— *
— 4 —
—J
—4 —
—"^^-4-- J
tJ
, Down by
n
de
rib - ber -
side,
Down
by
de
4
rib - ber - side,
y ^ - - - . s
y ^
^
K> s^
7^
' '
J ! II
f"\ J
[S
_l^ _l^
V,
J
4
a ^ 1
v; s •
m
# s
4
d -J-
Ain' gwine
D X 1
ter
stud - y
-J-
'bout
war
no
mo',
no mo'; <
y 1^
l^
f^ ^
fV(
1
s
N X
• J J
-T*
n
iC n
If ^ • ^
0
• J
;
^ J J -" 1 1
Vs. ^ -■ • •
^
^
» • • J
Down by
n
de
rib - ber -
side,
Down
by
de
*
rib - ber - side,
n\ /TV
U K . . . .si
1 1 1 IV
/\ r
'^
lO n:
p
j '
! 1 1 II
f(\\ J
_^
_i^ _i^
|V,
J
•
J 1 II
\<\) m •
#
m a
•
• .s^ II
t) -I
-#-
Ain' gwine ter stud - y 'bout war no mo', no mo'. («
For melodic relationship cf. **SCS 24, compare measures 2-4 with our
repeated phrase; ANS 202, measures 3-4 with our 1-2 and 5-6.
Scale: Mode III, plagal. Tonal Center: f. Structure: abab^ (2,2,2,2) ^ aa^
(4,4).
566(1)
'Down by de Ribberside.' MS score furnished by Miss Andrews of Raleigh,
the text furnished by Miss Clara Hearne of Roanoke Rapids, Halifax county,
in 1923. There is, however, another score which is also credited to Miss
Andrews, melody and text. The words as given in III 619-20 do not fit our
tune ! The beginning of the latter reminds one of 'Nobody Knows the
Trouble I've Seen.' Cf. also WNS 192-3.
RELIGIOUS SONGS
359
F-500
^
=S=T
Gwine to lay down my bur- den Down by the riv - er - side,
£
^
f)
Down by
the riv -
er - side, —
Down by the riv - er - side,
1 s IS K .
y IS N
1 1
1 ' IS K tc
• * •
s 1
r ^
* 1 I'm
m W' • • • -
IS.;
J 'J
t^
•
^
Gwine to lay down my bur - den Down by the riv - er - side
it
^E^-:
^.
m
To stud - y war no more. — I ain't gwine stud - y war
^
no more, Ain't gwine stud - y war no more. Ain't gwine
-J-J-j^Jl
J?
i£
-^-
stud- y war no more. — Ain't gwine stud-y war no more,
^
s
m
Ain't gwine stud - y war no more, Ain't gwine stud-y war no more.
For melodic relationship cf. ***Botsford 32-3, i, stanza only; ANS 202;
**SCS 24; *ASb 480, chorus only, although the intervallic progression of
"lay down my sword and shield" is the same as for "lay down my burden."
Scale: Hexachordal, plagal. Tonal Center: g. Structure: abacded^ei (2,2,2,
2,2,2,2,2) = aa^bbi (4,4,4,4).
569
Going to Heaven by the Light of the Moon
'Going to Heaven by the Light of the Moon.' Sung by Mrs. Alice Cooke,
Boone, Watauga county, in 1922. About the conjectural connection with early
minstrel song books which Dr. N. I. White suggests, one can refer to MSON
166-7 which shows the very close relation to 'In the Morning by the Bright
Light,' credited to James Bland. Incidentally, the chorus there is almost
identical. For additional texts cf. OFS 11 389-90 and SFSEA 234, last line
of stanza.
36o
NORTH CAROLINA FOLKLORE
F-50I
i
i^^
Goin' to Heav'n by the light of the moon, Hal - le,
-94 ^^ /"^ P** '^ ^^ Nn \
ff J J^— j— J— ^'^J:^
Ti^ZZIM.
hal - le, hal - le, hal - le - lu - jah. Up to meet them
-!^
dark
soon,
Hal - le, hal - le, hal - le, hal - le -
ii
=s:
-^^— •-
jah. In the morn - ing, in the morn - ing by the
-J r y^^^^
bright light. When Ga - briel blows his trum-pet in the morn - ing.
For melodic relationship cf. **MSON 166-7, first half of chorus only.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: aa^bc (4,4,3,3);
b is a considerably varied contraction of a. Over-all form: mm^n (4,4,6) ^
barform.
570
Go Down, Moses
'Go Dovm, Moses.' Sung by Miss Clara Hearne, Roanoke Rapids, Halifax
county, 1920-23. This song is one of many others testifying to the fact
that "civilization" is not always a blessing, and the leading tone can be as
much a disease as the so-called "Scotch Snap" (alia Lombarda). For additional
text cf. NSSUS 131, and BSS 28.
F-502
^^^
^
When Is - rael was in E - gypt's land. Let my peo"- pie
i£
-s^
go!-
Op - pressed so hard they could not stand. Let my
3
(5"--
e
-^-•
-?s>^
peo-ple go! Go down, Mos-es, Way down in E-gypt'sland;
RELIGIOUS SONGS
361
m
B
i
^i
^
^
±:
Tell— old Pha - raoh, Let my peo - pie go.
For melodic relationship cf. ***BANS i 51-3; ANS 165; WNS 181, No. u
A, in which there is, however, no chorus ; FSUSA 372, here the leading tone
does not occur ; TFS 210.
Scale : Hexatonic (6), plagal. Tonal Center : a (m). Structure : aa^bc (4,4,4,4)
— mm^n (4,4,8) = barform. The basic melodic progression of the second
half of b is the same as the first half of a. The ending of c is the same
as that of a.
571
Golden Slippers
'Golden Slippers.' From Mrs. Sutton, as sung by her sister, Pearl. Phono-
graph recording, Lenoir, 1922(111 622), but no trace of it can now be found.
571(1)
'Golden Slippers.' Sung by Dr. L G. Greer at his home in Chapel Hill for
this editor, who visited there in 1953. The text of this version is totally
different from that given in III 622-3. In contrast to the sources given there,
we find that MSON 195 attributes words and music to James A. Bland, and
so does RAS 154. TNFS 172 quotes our chorus as that for 'Raccoon Up
in De 'Simmon Tree.' The tune of our stanza is almost identical with that
of 'Polly-Wolly-Doodle,' SA 97.
F-503
mom.
An' my long, white robe
-N-
dat I bought las' June, I'm- gwine-ter git changed Kase it
NORTH CAROLINA FOLKLORE
fits too soon, An' de old grey hoss dat I used to drive,
^M — ^ — n
rlt-
—^
-f-
— t-
— 1^—
— j^
^^-^j^
-/'
—0 —
•
— ^
— ^ — ^
— =1--
w — —
— * ' — 0 —
will hitch him to de char - iot in de morn.
g^
'±
^
i
Oh, dem gold - en slip - pers. Oh, dem gold - en sUp-pers,
g . g -0-
Gold - en slip-pers Fse gwine ter wear, be - cause dey look so
^?H
^^
s
^.
neat. Oh, dem gold - en shp-pers. Oh, dem gold - en slip-pers,
I
:^
'±=^
^
^
-^^#-
-^— I— ?v
:f^
Gold -en slip-pers Fse gwine ter wear. To walk de gold - en street.
For melodic relationship cf. ***RAS 154; MSON 195, stanza only;
CRS Kit T 30; SA 97, stanza only.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abcdabcdee^feeif
(2,2,2,2,2,2,2,2,2,2,4,2,2,4) = aabb^ (8,8,8,8). Taking the chorus as the epode
to the preceding Stollen, we would have an over-all relationship of stanza and
refrain as a barf orm : mmn (8,8,16).
572
Good News — Chariot's Comin'
'Good News — Chariot's Comin'.' Sung by Dr. Newman I. White, Durham,
December 16, 1944. See III 623.
F-S04
r^-f-
#— r-
t:
iM
Good news — char
ot's com - in'. Good news —
RELIGIOUS SONGS
363
^
^
w
i
:?^^
char - i - ot's — com -in', Good news — char-iot's com-in',
^
I
w
^
And I don't want it to leave me be - hind.
For melodic relationship cf. ***WNS 193; **NFS 38, No. rv.
Scale : Trichordal. Tonal Center : b-flat. Structure : aa^bc (2,2,2,2) ; b is
related to a, and c really only a rhythmically altered restatement of b. Every
phrase cadences on I. The tonal center is the lowest tone.
576
GwiNE Down Jordan
'Gwine Down Jordan.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 1922. Cf. WNS 157, slight textual resemblances between chorus
and our stanza; also BANS 11 155.
F-S05
0^.. 1
~1n
■1
\
s
/ b ^ J
!S
[S
JN
_|N
1*
S
S
^
(^
^V4 ^ —
— J5i-
— j^ —
•
#
— T- m
4
— 5-
-K-
— •
—0
t7
L-l
— • —
-•
Oh, broth-ers, won't you meet me, Oh, broth-ers, won't you
*R=
1
f-l-
— Sr — fJ^ — :f^ — J'^ — ?~
— ^ ^ — a ^ —
— 1^ —
^
/ / ^ — ^ — r—
-^ ' b tr—
meet me, Oh, broth-ers, won't you meet me? I'm bound for
^ ^ K si — : ■_-— — II . N N 1^
Ca-naan's hap - py shore.
I'm gwine down Jor - dan, I'm
^
gwine down Jor - dan, I'm gwine down Jor - dan hal - le -
i
^
f
lo.
I'm gwine down Jor - dan, I'm gwine down
^i
Jor - dan, I'm gwine down Jor - dan, hal
le
lo.
364
NORTH CAROLINA FOLKLORE
Scale : Heptachordal, plagal. Tonal Center : f. Structure : abacddid2ci
(2,2,2,2,2,2,2,2) = aa^bbi (4,4,4,4). In the over-all form b^ is considerably
modified ; the ending is the same as that of a^.
577
Hear That Rumbling (I Heard a Mighty Rumbling)
'Hear That Rumbling.' Sung by G. S. Black, recorded in Cabarrus county,
in 1920.
F-506
:^
-4^^
1^^=^
Hear that- rum-bling down un - der — the ground, Hear that —
^
:f=f:
^
rum-bling down un - der — the ground, Hear that — rum-bling down
^.^
:t
kh
un - der — the ground? Oh, why don't — you pray for me?
^^
1^
-^
You pray- for me an' I'll pray — for you. You pray —
for me an' I'll pray — for you. You pray- for me an
-9 i ^ ^s — 1 1
\ N
\ ^
ri
"7r ^ ^'^^^^ • '^ J 1*
R 1
r J 1*
ir^
(X) tf 1 1 • ■■ ^ T
—0^ — 0- — •
• 1
-
S^ '—^ i-^
I'll pray — for you. Oh, why don't — you pray for me?
For melodic relationship cf. *CPS, measures 1-2 of chorus with our
3-4-
Scale: Mode III, plagal. Tonal Center: c. Structure: abcdaib^c^d (2,2,2,
2,2,2,2,2) := aba^b^ (4,4,4,4). There is considerable rhythmic relationship
between a, b, and c, as well as c and d.
'I Heard A Mighty Rumblin'.' Sung by Miss Mary Barbour, Raeford, Holt
county, in 1922. The title is that given in the catalogue. For similar text
cf. SCS 19, fifth stanza.
RELIGIOUS SONGS
365
F-507
i
p
^
:^
heard a might - y rum - blin'
up
in the sky.
Ih
'±i
^-.
i 4
Must 'a' been Je
ho - vah from on
high. — I heard
^
-^
=3=
a ^^
might
^
rum - blin'
der the ground.
S
:2:
^
:1^
iB:
:2
a turn - in'
round.
Must 'a' been the dev - il
Scale: Mode III, plagal. Tonal Center: d. Structure: abbib2 (2,2,2,2).
'I Heard a Mighty Lumbering.' Sung by Miss Jeanette Tingle; contributed by
Julian P. Boyd of Alliance, Pamlico county, in 1927.
F-508
^^
^
it=it
I heard a might -y lum-ber - ing in the ground; I
:^
?^
thought it was Sa - tan turn-ing a - round. Oh, — you know,
^
E
is:
^
S
Oh, you know. Oh, — you know. Sin - ner, we got to
go.
Scale: Hexatonic (6), plagal. Tonal Center: b-flat. Structure: abed
(2,2,3,2) ; this most unusual structure of nine measures results from the
terminal incrementation of the third phrase. If the third measure of the
latter is omitted — it is merely a literal repetition of measure 5 — we have the
conventional eight-measure phrase without in any way forcing the melodic
progression. Every phrase cadences on v. Circular tune (V).
366
NORTH CAROLINA FOLKLORE
579
Heaven Is a Beautiful Place
'Heaven is a Beautiful Place, I Know.' Sung by Will (Shorty) Love, janitor
in Trinity College and Duke University, about 1920. The record begins
with the chorus. The rhythmical and melodic variety achieved in the first
half of the chorus and stanza is quite remarkable. For additional texts cf.
SSGSI 69-70; SHIS 16.
F-509
m
Chorus
s
:2=^
Heav
beau - ti - ful place, I know.
I^Zt
i
^
^
Heav - en is a beau - ti - ful place, I
know.- If you
33^
want to go to Heav - en on time, Sure got
to
S
i~ 'A d ^ d
utziMi
plumb the Une. Heav - en
beau -ti- ful place, I
i3:
i=^
±^
:^=k
* z? —
Heav'n I know.
know. Ain't no sor - row in
Ain't no
3
:3:
^=k
Heav'n I
know.
If
you
want to
3
to Heav-en on time. Sure got to plumb the line.
S#
:2=i:
\^L
1
Heav - en
beau - ti - ful place, I
z? —
know.
Scale: Hexatonic (2). Tonal Center: d. Structure: abca^a^btcai (3>3,3.3.2,2,
3.3) ; a^ and b^ are free and compressed variations of a and b. All phrases
MOUNTAIN HAYSTACKS
RELIGIOUS SONGS
367
(measures 2-3 and 5-6, for example), partake of the same cadcntial turn, al-
though, in some cases, displaced in time. There are other similarities between
the individual phrases. Over-all form: aba^bi (6,6,4,6). The tonal center
is the lowest tone.
581
I Am Bound for the Promised Land
'I'm Bound for the Promised Land.' Sung by Bascom Lamar Lunsford,
Turkey Creek, Buncombe county, about 1921. Lunsford sings this like a
v;eary and very old man, who is hardly able to speak the words. The texts
of the two stanzas are entirely different from the printed version in III 630.
Although in different meter, there is nevertheless a certain rhythmical similarity
with a version of this song given in FSRA 152, No. 86. More important, how-
ever, is the contrasting text and musical mood. Our version begins with a
question, the other with a strong and assured statement. The former is more
modal, the latter in a major tonality ! Cf. also WNS 218, No. 104 with reference
to our second stanza.
F-510
=??
^
— 9—
Am
sol - dier-
of the Cross-
^
^
^~
^
-I'T-t-
-T^—f
fol - low - er of the Lamb? And- shall I — fear to —
i
^
^
1^=4^:
j^— •
own His- cause Or — blush to — speak His-
-li — i^-
I am
name.
9
t#
=^=s^-
^—^
^
^
bound for the prom - ised —
I
land,-
— #—
am
=f^
ivHv
W
^— N
i^iat
3trit
=.«
bound for the prom - ised land. Oh, — who will- come and-
^E^
I
3
^
go-
with me?- I am bound for the prom-ised land.
W^
-K->
^-=1=^
jtie
N-N-
^— #
N-fv-
368 NORTH CAROLINA FOLKLORE
For melodic relationship cf. ***OFS iv, 62; WNS 208, the last five
measures of chorus and stanza are melodically almost identical ; FSUSA 350 ;
SOCG 59 and 76; **SHIS 37, measures 5-8 and 13-16 in our version are
closely related to measures 5-8 there.
Scale: Hexatonic (6). Tonal Center: d(m). Structure: aaibca^a^b^c
(2,2,2,2,2,2,2,2) = aba^b^ (4,4,4,4). The tonal center is the lowest tone.
2nd stanza :
When I can read my title clear
To mansions in the skies,
I bid farewell to ev'ry fear
And wipe my weeping eyes.
584
I Don't Love Old Satan
'I Don't Love Old Satan.' Sung by Miss Mary Barbour, Raeford, Holt
county, in 1922. As frequently, our contributor is a different singer from the
one mentioned in III 631, A version.
F-511
it
don't
like
or
Sa
tan.
or
^' f '-'— f^^ 1 r ■ . 1 ; J , J jH
€^^—^ — 1- — 1 — f — 1 — ^ — *—* — ^__? — J —
Sa - tan don't like
me,
And un - dor the cir - cum -
m
stanc - es
Me and old Sa - tan don't
gree.
I'se
i
5
gwine — to Mount Zi - on, My beau-ti - ful home.
Scale: Mode IH, plagal. Tonal Center: e-flat. Structure: abaib^a^b^
(2,2,2,2,2,2) = aa^a^ (4,4,4).
586
I Do Wonder Is My Mother on That Train
'Sinner, You Better Take Heed.' Anonymous ms score. No date or place
given. See III 632, No. 586. The chorus of this song seems to put the
latter in a class by itself : a song in a minor mode. The stanza, however,
is in the tonic major, although it returns at the final cadence to the tonic
minor in which the chorus began. The change between chorus and stanza
RELIGIOUS SONGS
369
with its frequent chromatic aherations would indicate some more recent in-
fluence.
F-5I2
Chorus ^
i
^-^
W
0=4=
^
^^-^^-J-"--^
I do won - der is my moth - er on that
train,
i
±3i:
K
:tt^
I do
won - der
my moth - er on that train. — ■
^
3
^^
^
y^~':
^^
1^
Train is com - ing 'roun' de curve, An' she's strain-in' ev - er'-
y
s
tp
^
^"^^^rr'
nerve. I do won-der is my moth-er on that train.
4^
Well,
ner, you bet - ter take heed;
Jes'
fc^
=N— ^
r^
lis - en to what I-
say: You walk with the Chris-tians a -
S
m
3
?
round, But still you will not pray. — God with his an-ge - ry
■f^r^
frown Some day will call you — down.
do
fEE^
^^^^^j ^f
#-=-
won - der is my moth - er on that train.
Scale: Heptachordal. Tonal Center: a. Structure: abcac^b^c-a^ (3.4.4.
3.5.5.4.4) ; d and particularly b^ are considerably modified and internally in-
370
NORTH CAROLINA FOLKLORE
cremented. Over-all form: abb^b^ (7,7,10,8). The endings of b and b^ are
related to the beginning of a, the ending of b^ is related to that of a. The
tonal center is the lowest tone.
I Have Long Since Been Learned
'I Have Long Since Been Learned.' Sung by Mrs. Norris, no date given. See
III 634, No. 588. This is a splendid example of a songform which, in modern
terminology, is called through-composed. The unity, aside from the text,
is maintained through rhythmical relationships and the consistent mood. This
additive principle is nothing new ; it can be observed in the motets of the
sixteenth century as well as for example, later, in many of the arias in
Mozart's operas and elsewhere. For a related text cf. SNS 96; also JAFL
XXVI 153.
F-513
~\ . ►
i
t=
?i=fc
S
:2=«
I have long since been learned Dat de trum-pets will be
i
sound -in', Dat de trum-pets will be sound-in' in dat
*:
^=^
day, Oh, de trum - pets will
1^
be sound - in'
dat
:i^^
v-^-
^
day. Oh, sin - ner, whar' will you stand in dat
^_ — _ , ^ ■
day?
I
i
=t
He
ble
de blind
to
see,
He
^
ble
de lame to walk,-
He can raise de
±1
^=
^
dead from un - der de ground. Oh, sin - ner, pray on, pray
i 9
gEEr-=j^t3=^
^
=&:
on, pray on; Je - sus
a - knock - in' at de door.
RELIGIOUS SONGS
371
For melodic relationship cf. **FSF 165-6, the first eight measures and
our first four; SSGSI 179, measures 2-5 and our first four; SFSEA 179, No.
165, measures 1-9 and our first four.
Scale: Hexatonic (6), plagal. Tonal Center: e(m).
(2,2,2,2,2,2,2,2,2) = abcde (4,4,4,4,2).
Structure : abcdefghi
589
I Am Standing in the Shoes of John
'I Am Standing in the Shoes of John.' Sung by Miss Jessie Hauser, of
Forsyth and Durham counties. Recorded at Durham in 1928. There was
no title given by the singer.
F-514
^^
i
I am stand-ing in the shoes of John, I am stand-ing
i
t
^
?
5l=il:
W
in the shoes of John, I am stand-ing, stand-ing, I am
1
:*
^
tJ
stand - ing, T am stand-ing in the shoos of John.
For melodic relationship cf. **JAFL xlv 173, measures 1-4 and ending.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2).
591
I'm Goin' to Ride in Pharaoh's Chariot
No title. Sung by S. M. Holton, Jr., Principal of Bain Academy, Mathews,
Mecklenburg county, about 1938-39- The beginning somewhat reminds one
of the chorus of the 'Battle Hymn of the Republic' There is an interestingly
varied use of the tonal material. Cf. also ANS 139.
i
I:
F-5IS
God knows that Fm goin' to ride in Pha-raoh's eliar - iot,
i
^
'-^ J ' i J-
¥
Fm goin' to ride in Pha-raoh's char - iot one of these days.
372
NORTH CAROLINA FOLKLORE
-flfd.
^
— s
"t — M
y '+ V 1
V
^
J J
^ 1
ff^ 1 ^
J
• •
< "^
1
Ik .) 4- J
J
J J
I'm goin'
to
ride
in Pha-raoh's
char - iot,
['m goin'
n^
3
■^
y •} K N
V
K
K
N h N ^
s ,N
>f tt N y*
IT ^ J
^
^
^
4 w V W
^ «
v; ^ •
•
d
to ride in Pha - raoh's char - iot; One of these days
For melodic relationship cf. **SCS 22.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aba^c (2,2,2,2)
= aa'^ (4,4). Text and tune do not conform structurally.
593
Indian Song: Ah, Pore Sinner
'Indian Song: Ah, Pore Sinner.' Sung by Miss Pearl Minnish, contributed by
her sister Mrs. Maude Minnish Sutton, between 1921 and 1936. No place
given. The twelfth measure recalls 'There's No Place Like Home.' Con-
siderable textual relationship with FSoA 29.
F-516
1^=3!
^-
—^ •
Ah, pore sin - ner, un - der the rock, Till the moon goes
jizii
down in blood, You can hide yo' - self on the moun - tain
i
SES
top, To hide your face from God. Um, ah, ta - alk a - bout
m
i
2±:
Je - sus! Hal - le, hal - le, lu, there's glo - ry in my soul.
For melodic relationship cf. *FSoA 29.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aba^b^c (2,2,2,
2,6) = mm^n = barform (4,4,6).
598
I Wanter Jine de Ban'
'I Wanter Jine de Ban'.' MS score after J. N. Corbett's singing, contributed
by his daughter, Mrs. C. C. Murphy, Ivanhoe, Sampson county. No date
given. For additional texts cf. BANS 11 127 and NSSUS 145.
RELIGIOUS SONGS
373
F-517
^feE^
2. Oh, you Mos - es, don'-
I P' 1^ ^, M ! J
you get los'; Stretch dat
W^^
rod an' come a - long
Oh,
want - er
m
rSi
J^=^^^
J me
de Ban'!
-J±L
got an ole' aunt
-V-
de
^J_^^U^j^
Prom-ised Land! She went o
N-
ver dere to feed dem lambs.
000- — -+-
An'
I want - er jine de Ban'! Oh, I want-er jine de
—I P^
45;
^^
Ban'! Eb - ry - bod - y! An' I want - er jine de Ban'!
For melodic relationship cf. *'*SS 95, No. 116, measures 7-8 and our
first four, also the thirteenth.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aalbaaibcbl
(2,2,2,2,2,2,2,2) = aab (6,6,4), basically a barform: mmn, of which each
strophe and antistrophe is a barform. The endings of m and n are closely
related.
599
I Was Once in a Dark and Lonesome Valley
We have no tune for this, but cf. SS 5, No. 7, footnote.
600
I Wonder As I Wander
'I Wonder As I Wander.' Sung by Obie Johnson, Crossnore, Avery county,
July 14, 1940. Music and text used by permission of G. Schirmer, Inc. and
Mr. John Jacob Niles.
374
NORTH CAROLINA FOLKLORE
F-518
•—^ ^ •-
a cow's stall, With
When Ma - ry birthed Je - sus, 'twas in
-K-
-x^
?
wise men and shep - herds, and farm - ers and all. But
t-
^-
i
high from the heav - ens a star's light did fall, And the
-^^
-^
1
prom - ise
of
- ges
it then did re - call.
1 and 7
V' ^
[J\
(S
f^_.
■y ! N
>
|V
f
gl
r ^ "^ 1
4
•
«
1
\^) J
-V—
u
For melodic relationship cf. ***SHF 8-9.
Scale: Hexatonic (6), plagal. Tonal Center: a(m). Structure: aaia2a3
(4,4,4,4). With the exception of the last phrase, which deviates but slightly
in its initial measure, all the others have everything but the cadences in com-
mon. Circular Tune (IV).
604
John, He Baptized Jesus
'John, He Baptized Jesus.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, July 1922. The line "Little Chidren" etc., as printed in HI 644, is omitted
in the recording. The change of time as well as melody indicates a chorus not
evident in printed text. The placing of the words with very unusual accents
would suggest that, perhaps, this text was adapted to an older tune.
F-519
That John was
RELIGIOUS SONGS
375
i
A
w
fe^
:£
a right-eous man.
Lit - tie chil - drcn, our lodg - ing's
t^
-N-
^
here
to - night, Lit - tie chil - dren our lodg - ing's
l^
i^EE^EiE^EE^
here to - night.
know you by your
lit - tie
^^^^^^^
white gar - ments. Our lodg - ing's— here— to - night.
Scale: Mode IIL Tonal Center: d. Structure: abcdefgh (2,2,2,2,2,2,2,2) =
abed (4,4,4,4). The tonal center is the lowest tone.
605
John Jasper
'John Jasper.' Anonymous singer, no place or date given. MS score.
F-520
m
A:
=^=?
N S
i
John Jas - per was a man, as you all do un - der-stand,
*
^^^
It:
i
An' he prea - ched to the peo - pie wid a ven— geance.-
w
^=3^
i
He
out
prea - ched in the church, an' he prea - ched
•7 — ^
N —
— ^-^
=^=
N S —
f^ 1^^ —
=45
— ;?==
t) /■
^ ,
4^
-?^-
—iP #^^
^ '-^
— i^^^
tJ
_^S ^
U- —
of doors, An' he prea - ched to the peo - pie
¥
— ^__, ^ — ^
dat de sun do move. Be - cause de sun do move,
376
NORTH CAROLINA FOLKLORE
i
ps^i^
be - cause de sun do move. Dear John Jas - per was a
^ ; ' ^. ^
preach - er. — - He prea - ched in de church, and he
i
9
prea - ched out o' doors,
An'
he
prov - ed
to the
Stanza 2
peo - pie dat
de
do
■^--T-
~^. ^
And de wise men come - uh from a long ways off,
=S=N=
An' dey took down de books dat come - uh from de Lord,
N N
'7=f^=f=^^=^
-id—^
An' dey took down de Bi
ble
set a-bout to prove.
iv:
15?
I
^
^
An' prea - ched to de peo - pie dat de sun do move.
Scale: Mode III, plagal. Tonal Center: f. Structure: (first stanza) abab^
cba^bi (2,2,2,2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar; (second stanza)
cb^a^b^ (2,2,2,2). The latter shows a rather ingenious use of the material of
the first stanza and chorus. It begins by using the first two phrases of the
chorus, of which the second is varied ; then ends up by using a variation of the
first measure of b, plus the first of a (here called a^) and nonchalantly comes
back to the conclusion of the first stanza.
607
Lily White Robe
'Lily White Robe.' Sung by Aunt Becky Gordon, Saluda Mountain, June-
July 1928. See III 647 for special note. Unfortunately the dubbing of the
RELIGIOUS SONGS
377
original wax record was so bad that not more than a short fragment could
be salvaged. So far no harmonized version by Miss Blackstock has been
found.
F-521
i_J_,^^j^
m
Glo - ry, glo - ry, glo - ry, hal - le - lu - jab; I'm
m
^
^^
go
in' where
— »'
my
trou - bles will
o'er.
Scale: Mode III, plagal (?). Tonal Center: possibly g. Structure: Nothing
can be said except that this fragment, judging from the printed text, rep-
resents the second half of an ab structure. If that be so, then we have
a circular tune (V).
609
Little David, Play on Your Harp
'Little David, Play on Your Harp.' The MS score by Newman I. White,
Durham, referred to in III 648 as having been copied by Mr. Boyd is incom-
plete, and the tune evidently not clearly recalled. The notation, being very
amateurish, is not usable as it stands. It seems best not to alter or improve
what there is. Even the text given in Dr. White's ANFS could not be
used with this score.
609(1)
Little David, Play on Your Harp.' Sung by Bascom Lamar Lunsford, Turkey
Creek, Buncombe county, probably 1921. This version has an entirely dif-
ferent text from that in III 648. Cf : ANFS 68, 7 F. For additional texts
of: EAS 38; ANS 124; BANS i 65; RFSN 139. Dett 64, and JAFL xxvii
263.
F-S22
^^
i^ — ^
^
i^-N;
Da - vid had a harp- with a thou - sand strings,-
i
^-
R=^
i±:i
Touch jes' one — string-
^
^
an' de whole thing ring. Lit - tie
K
1
-^— N-
^
Da - vid play on your harp,-
Hal
le - lu, hal - le -
378
NORTH CAROLINA FOLKLORE
i
^
-A— 1^
lu, lit - tie Da - vid, Play on your harp,-
5-7
^
Hal - le - lu.
~PT"[rJ~"
t-fl=r=^
Pv—
p^
^ \
g) 4 '^ •
•^—4
^N • «
— #—
^ •
-JHi—
^^
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^bbi (4,4,7,5); the
first phrase of the chorus is terminally incremented, the second initially
modified.
610
The Little Family
B
'The Little Family of Bethany.' Sung by Lloyd and Steve Church, Boone,
Watauga county; contributed by Dr. Amos Abrams, in 1935 or 1936. See
the extensive notes in III 648-9.
F-S23
-T^ =^=
s —
h-^^-^
— \ —
t-
-A—
N—
N
\^) 4 j^ •-^
s '
— • — # — 0 —
— J-^
— • —
— ^=
~"*
— 0 — —
The lit
tie
fam - i
ly
that lived in Beth - a-
^
A:
4:
ny; Two sis - ters and one broth - er com-posed this
^fE^
fe3
}:
fam
ly. With pray - ing and with sing - ing like
^
:3=f:
^
gels in the
sky,
At morn - ing and
at
I
ev - enmg
they
raised their
vol - COS
high.
For melodic relationship cf. **Botsford i 29-30; SFSEA 36, No. 8,
general melodic line especially in last four measures; WSSU 196, similarity be-
RELIGIOUS SONGS
379
tween our measures 5-8 and 13-16 and the second phrase as well as measures
1-4 there; BSO 295, general melodic line, especially last four measures;
*BT 190, melodically similar : "With praying," etc. ; BM 218, general melodic
outline.
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (4,4,4,4). Circu-
lar tune (V).
'Martha and Mary.' Sung by Mrs. Cynthia Moody, Spear, Avery county,
September 7, 1939. The singer seems to be suffering from some respiratory
trouble and, in addition, seems quite advanced in age. Only with great effort
does she go through the song, and it is absolutely impossible to understand
the words. For additional versions cf. WNS 174, No. 40, second stanza;
BANS II 81-3; NSNH 15; and WSSU 198.
F-524
^
i
^=^
±=^
l=i:
J=^=J^=jMJ^
^
-^ — «^_
For melodic relationship cf. *WSSU 198, first measure only.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: ab (4,6).
Circular tune (V).
612
Moses Smote the Waters
'Moses Smote the Waters.' MS score contributed by Mrs. Maude Minnish
Sutton, Lenoir, Caldwell county, between 1921 and 1925. Almost the identical
text, although to a different tune can be found in SHIS 86, No. 104.
F-525
¥Wz
^
^
S
Mos - es smote the wa - ters and the chil - dren they passed
^
o - ver, Mos - es smote the
ters and the sea gave
^^
m
ffi
way. Oh, chil - dren, ain't you glad you left the sin - ful
NORTH CAROLINA FOLKLORE
:^
^
^
ar - my? Oh, chil - dren, ain't you glad the sea gave way?
For melodic relationship cf. **OFS ii 374, No. 290, first two measures
and ending.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abacdedf
(2,2,2,2,2,2,2,2) = aa^bbi (4,4,4,4).
613
And Must I Be to Judgment Brought?
'And Must I Be to Judgment Brought?' Sung by Ephraim Stamey, Altamont,
Avery county, July 14, 1940. This version has no chorus like that given in
III 653. For additional texts cf. ASoWS 120; DESO 152; this, like the
other Jackson version quoted in III, is also attributed to Charles Wesley, but
has a different chorus.
F-S26
h^h^=^
^
3:
^-*-
And — must I
be
to
judg - ment brought, And
m
3
j=j-^^
p #— =g
an - swer m
that-
day, For ev - 'ry
die
1
I
W
deed and thought, And ev - 'ry word I say?
Scale : Hexachordal. Tonal Center : g. Structure : abed (2,2,2,2) ; there is a
slight relation between a and c. The tonal center is the lowest tone.
614
The New Burying Ground
'Hus Keep uh Rollin.' Sung by the Misses Andrews, Raleigh, October 1922.
Negro fragment. For additional versions cf. WNS 218-19; OSC 31; ANS
116, 127, 135; RAS 66; and BANS 11 174.
F-S27
m
±
s
Hus keep uh roll - in', Hus keep uh — roll
^^
-; 1 ^.
S
-^
An' uh hus — keep uh —
roll
Oh, me! Oh, my!
RELIGIOUS SONGS 381
Scale: Mode III. Tonal Center: c. Structure: aa^bc (2,2,2,2); the fifth
measure with up-beat is evolved from the third measure with up-beat ; the coda
stems from measure 4 or 6. Over-all form = ab (4,4). The tonal center
is the lowest tone.
'New Burying Ground.' Sung by Alfonso Coleman, Alliance, Pamlico county,
1927. For additional text cf. OSC 31.
F-528
^
m
it
:±
^
s
^
Oh, de bell — keep a - toll - ing
Some - bod - y's
^
^^
in de grabe - yard, Oh, de bells keep a
toU
m
:«=!t
Some - bod - y's in de grabe - yard.
Oh, de
m
£
m
bells- keep a - toll
Some - bod - y's in de
5:
±
^
m
:^=itr
^=^
^
grabe-yard, But I thought my time ain't long.
Scale: Mode III, plagal. Tonal Center: f. Structure: aa^bb^cde
2,2,2,4) ; d is somewhat related to a. Over-all form: abed (4,4,4,4).
(2,2,2,
616
No Hidin' Place
'No Hidin' Place.' Sung by Newman I. White in Durham and recorded in
July 1922. Refer to editorial notes in III 655-6. The chorus is identical with
that of F-530; the intervallic progressions of the stanza are related to those
of the second stanza of the latter version. For additional texts cf. ASoWS 13 ;
SSGSI I 143 and 151; NSNH 44; also Bible, Revelation vi 15-16.
F-529
^ J ^^^
2:
Went dovpn
to the rocks
to hide
my
face,-
382
NORTH CAROLINA FOLKLORE
1
Went down to the rocks
^ ' J-
hide
to
my
face,-
m
^=r=^
*:
Went down to the rocks to hide my face. The
:?^
?
:|^
rocks cried out no
hid
ing place, No hid
mg-
w
^
place down there.
No hid - ing place,
*:
^
W^
I
w
no hid - ing place, No hid - ing place down there. —
For melodic relationship cf. **Botsford I 39-40, last four measures of
stanzas and choruses are identical; *ANS 149, our last four measures of
stanza and chorus are the same as the last two there; BANS i 74, our last
four measures of stanza and measures 8-9 there.
Scale: Mode III. Tonal Center: c. Structure: aaibb^cddic (4,4,2,2,4,2,2,4)
= aaimm^nooin, strophe plus bar plus bar: compound structure. The tonal
center is the lowest tone.
A(I)
'Sinner Man.' Sung by Newman I. White, Durham, in 1921 or 1922. This
is a second version contributed by the late Dr. White.
F-S30
-N— r-^
£s^
s
i^
Oh,
sm - ner man,
on get your fill,-
^
^
Oh,
i
sm
ner man, come on get your fill.
t:
:^
Oh,
I went to the rocks to hide my face. The
RELIGIOUS SONGS
383
rocks cried out no hid - ing - place, No hid - ing -
^
place down there. No hid - ing - place, no hid - ing
^
I
w
:t
place,
Stanza 2
No hid - ing - place down
there.
Oh,
I went down the rocks to hide my face.
-^^H M
\ \—
— ^-^-^-
\
|<^
/ W Z J . 1
» J
m J
P
f\
^
v\^ '\ •
^
•
J
—
•-^
VS.; 4-
L
J
•
Oh,
n h 1
I went down
s 1
the rocks
to
hide
my
face,
y 1 ^
1 J '
' K K 1
i 1
• b « • -
1* m '
J
! ^
K
1' 1
1
i(\ •
^
r •
^
• W ] d \
1
\s)
J
a \
^
^
For melodic relationship of. **Botsford i 39-40; *ANS 149, last two
measures with our last four.
Scale: Mode III. Tonal Center: e-flat. Structure: aa^bb^cddic (4,4,3,2,3,2,2,4)
= aaimminoo^n = compound structure : strophe plus bar plus bar. The
tonal center is the lowest tone.
623
The Old Ship of Zion
'The Old Ship of Zion.' Sung by Will (Shorty) Love, Trinity College and
Duke University janitor, about 1924. This version has much in common
with that of F-532. The ms score contains the following directions: "The
words printed above, form the chorus of the song ; this chorus is repeated
after each verse. The interpolation of the words 'when she comes' after
the second line is made after each verse and chorus except the first."^ The
notation of the score was changed from 4/4 to 2/4. For additional texts cf.
SOCG 47; WSSU 258; SFSEA 199 and 211; and SS 102.
n
F-531
y 0
t. IW
N
,
/ -^
k"
J ^
\(.^ A.
J N - .
S
;
ry
K,
J i"^ K
V-; H-
•
m
^
•
^
* 1 J^
tJ -J-
0 '
v
• • •
The old Ship of
Zi
on, when she comes, when she
384
NORTH CAROLINA FOLKLORE
S
^
comes, The old Ship of Zi - on when she comes, when she
:fir
?
comes. It's the old Ship of Zi - on,-
the old Ship of
^
^
S
Zi - on,-
The old Ship of Zi - on when she comes,-
For melodic relationship of. **ASb 372, measures 5-8 and last four; AMS
71 ; WNS 201, measures 5-8 and last four.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aa^bb^c (4,4,2,2,4)
= abc (8,4,4).
iThe score indicates this as follows :
1
comes, comes when she comes,
It is clear that if the tune is sung by a single person, the score must be
revised to read as in measures 7-8 above. The same measure in the first stanza
would then have to read thus :
^
A;
comes. It's the
If, however, sung by a group, as frequently is the case, it is quite likely that
the soloist would keep on singing as he did in the first stanza, whereas the
group would sing :
I -- I / I J^
when she comes
'Old Ship of Zion.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, between 1921 and 1923. Catalogue describes this as "Black Mammy's
Song."
F-532
fe^^
T^ Ir] I
I^
'Tis the old
Ship
of
Zi - on
Come a -
RELIGIOUS SONGS
385
sail - ing a - cross
the
cean, Heav - y - load - ed 1
£
with bright an - gels, True be - liev - ers in that band. »
^^n I J ^
Come a - long, my moth - er 'n go with me. Come a -
^^
^
S
long, my moth-er 'n go with me, Come a - long, my,
izj^nij J
t^
I
moth-er 'n go with me, And re - mem-ber your dy - ing day. •
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: abcc (4,4,4,4)
— nmmi (8,4,4) = inverted barform.
'The Old Ship of Zion.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, in 1921. This is a second but independent version by the same singer.
There is considerable melodic relation with the version F-531. The beginning
reminds one of 'She'll Be Coming Round the Mountain.'
^
W^
There's a wail from the is - lands of the sea;-
1=^
^
^
i
There's a voice that's a call - in' you and me.
I
:|^
^
From a - cross the wide — wa - ters, See
fri - ca's dark
i
t4^
±:
^^=^^J^^=JJ
¥
daugh-ters. O Ship of Sal - va - tion, hith - er fly.
386 NORTH CAROLINA FOLKLORE
For melodic relationship cf. ***ASb 372, measures 5-16; AMS 71; WNS
200.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abed (4,4,4,4).
'The Old Ship of Zion.' Anonymous male singer, with banjo accompaniment.
No place or date given. Our stanza is closely related to the first stanza of the
A version. Our tune is identical with that for 'Coming Round the Mountain.'
Subsequent stanzas use father, mother, brother, sister. Measures i, 7, and
14-16 are identical with those in F-533.
F-534
F4=^
?EE^
She's the old Ship
of
Zi - on when she comes, —
^^
^
:f!=f:
-^-
Ship of Zi - on when she comes,-
She's the old Ship of Zi - on,-
the old — Ship of
i
i
^
w
^^
Zi - on, She's the old Ship of Zi - on when she comes. —
For melodic relationship cf. **ASb, measures 15-16; AMS 71; WNS
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abed (4,4,4,4).
'Zion's Ship.' Sung by Mrs. Myra Barnett Miller, Lenoir, Caldwell county,
August 1939, 1940, or 1941. An entirely different text. Cf. the 'Battle Hymn
of the Republic,' to which this tune is indebted.
F-S35
^
:fc
:^
i
Zi
ship
on's ship is
the
o - cean,
Zi
^
the
cean,
Zi - on's ship is
RELIGIOUS SONGS
387
r=it
^
-*
on the o - cean, Oh, bring those sail - ors home.
For melodic relationship cf. ***Revivalist 95, No. 173.
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure:
(2,2,2,2) = aa^ (4,4).
abac
624
Old Satan's Mad
'Old Satan.' Played by "Bunk" Sanders, Little King's Creek. The ms
score was contributed by Mrs. Maude Minnish Sutton, Lenoir, Caldwell
county, about 1920. As in some of her other lengthy outbursts accompanying
a number of the songs she contributed, her imagination somewhat got the
better of her. In this case, it actually ran wild. Her remark about having
heard Mischa Elman play "this hauntingly wild strain — exactly the same as a
Roumanian folkdance" moved this editor to send Mr. Elman a photostatic copy
of the song with remarks made by Mrs. Sutton. Mr. Elman replied, July
23, 1954 : "I am sorry to tell you the Roumanian Melody which you sent
me is completely unknown to me. I have never played it at home or in
concerts. It is hard for me to understand how anybody could have associated
me with that melody. I hope this information will straighten the matter
out." For additional versions cf. FSoA 182, third stanza; ANS 71, 'I Won't
Stop Praying' ; WNS 223, 'Never Turn Back Any More' ; McDowell 53 ; DESO
232; SFSEA 218.
F-536
4=f=
i^bzl
i^
What's old Sa - tan grum - blin' a - bout? He's
Hell and can't git
out.
And
nev - er will turn
7^ — ^-^ — ^ r~r — /' — —f—r — ^ — ^'
^i-^^-^^^-.^— i^ E — \ — ^ — J — P ^ ^j
back- no more, No more, my Lord, no more, my Lord;
i
^
And
nev - er will turn back
Scale : Hexachordal, plagal. Tonal Center : d. Structure : aaba^bi (2,2,2,2,2)
388 NORTH CAROLINA FOLKLORE
= aa^b (2,4,4) = nmmi, an inverted barform ; the beginnings of m and ml
are closely related to n.
'Old Satan's Mad.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
in 1921 or 1922. Compare the beginning of the tune with that of 'Polly-Wolly-
Doodle' ; likewise with G-57. For similar text cf. OFS 11 388, No. 302.
F-537
3
:±L
^-
-^
2. Old
Sa-tan's mad and I am glad, Down by
de
^EEEi
^EEi
rib - her; — He lost dis soul he thought he had, Down
tESE^-
^
^
-25^
by de rib-ber - side. We'll end dis war - fare, Down by de
t7
$r— (V-
^-
r^-t-i
-^
rib- ber; — We'll end dis war- fare, Down by de rib - ber - side.
Scale: Mode III. Tonal Center: g. Structure: abacdbdc^ (2,2,2,2,2,2,2,2) =
aa^bb^ (4,4,4,4). The tonal center is the lowest tone.
'Satan's Sad and I Am Glad.' MS score from the singing of Thomas T.
Neal, from Laurinburg, Scotland county, at Trinity College, Durham, De-
cember 5, 1919. The beginning is like that of F-533.
F-538
2:
Sa
tan's sad
and
am glad, 'Cause he
^
lost a soul he thought he had. 'Cause I know the
1
I
^
^=F^=i
Lord,- I know the Lord- laid His hands on me.
Scale: Hexatonic (4). Tonal Center: c. Structure: ab (4,6); b is an
RELIGIOUS SONGS
389
internally incremented phrase. The tonal center is the lowest tone. Circu-
lar tune (V).
627
Our Fathers, They'll Be There
'Our Fathers, They'll Be There.' Sung by E. Myers of Concord, (R.F.D.),
Cabarrus county, in 1924. Mountain Baptist Spiritual. For additional texts
cf. SOCG 37; ASoWS 14, No. 25; and perhaps WNS 166, No. 29.
F-539
^^
^^E^^
3C
E
Our
fa - ihers, our fa - thers they'll be there, Yes, our
3
^
-J- V
fa - thers they'll be there, When we all meet a - round-
3
t
m
-n-
God's bright throne. — What a meet - ing, what a meet'
mg
tr^^-^^
^
that will be, Yes, what a meet - ing that will be.
^
3
3
a
^^
When we all meet a - round- God's bright throne. —
1-2
J j'. J' \1 ^^E^JEd^
:&
Scale: Pentachordal, plagal. Tonal Center: f. Structure: abcabc (3,3,4,3,3,4)
= aa (10,10). A very similar rhythmical pattern underlies the whole tune.
628
Poor Old Lazarus
'Poor or Lazarus.' Sung by R. D. Ware, from Rutherfordton, Rutherford
county, at Trinity College, Durham, in 1922. Our text is slightly more com-
plete in the third line of the first stanza. For other versions cf. ANS 169
and 239; BANS i 96; FSUSA 308, and OSC 342, both of the latter the title
only ; Mellows : 'I Got a Home in the Rock' has a very similar text.
390
NORTH CAROLINA FOLKLORE
F-540
When he died he had a home on high, — Don't you see?
?
^
Rich man, rich man Uved
well, — When he died
a
S3
he had a home in hell, — Don't you see, don't you see? —
For melodic relationship cf. *ANS 169; BANS i 96; Mellows 85-90; in
all of these only the melodic phrase : "Don't you see."
Scale: Mode III, plagal. Tonal Center: a-flat. Structure, abcbdd^b (2,1,2,
1,2,2,2) ; both d and d^ are somewhat related to a. Over-all form: abcbmm^n
=: strophe plus bar. The endings of both the strophes as well as the bar are the
same.
631
Roll, Jordan, Roll
'Roll, Jordan, Roll.' MS score from the singing of Eugene C. Crawford,
Trinity College, Durham, December 3, 1919. On the recording as well as the
MS score only the chorus is given; it is possible, however, to sing the stanza
to the tune of the chorus. For additional texts cf. OFS 11 388-9, No. 303;
also III 612, No. 555, where our text constitutes the last two lines of the
stanza.
F-541
Chorus
^
13^
±:
Roll, Jor - dan, roll. Roll, Jor - dan, roll. I want to
5
^m
I
^
Jor - dan roll.
go to Heav - en when I die To hear old
For melodic relationship cf. **ANS 199; BANS i 105; WNS 180-1 ;
RFSN 165; all of the foregoing have the first measure identical with and the
RELIGIOUS SONGS
391
last two similar to those in our version. SCS 51, first and last two measures
identical with those in our version ; *WSSU 263-4, and SFSEA 193 both have
(he third measure in common with our song. Compare also JAFL xli 583,
last measure of stanza with the ending in our version.
Scale: Mode III. Tonal Center: c. Structure: abed (2,2,2,2); c is somewhat
related to a. The tonal center is the lowest tone.
632
Rough, Rocky Road
B
'Rough, Rocky Road.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, between 1921 and 1924. (This is one of the worst records.) There is no
chorus as given in III 668, No. 632. The repetition of the textual lines also
varies from that given there. For additional text cf. SCS 32-3.
F-542
fci:
^
¥=
it
It's a rough,- rock - y road, And I'm most done with
"N—
:&
5
Strug -glin', Most done with strug-glin', I'm most done- with
^
^
^
^
strug-glin'. It's a rough, rock - y road, And I'm most
-i,Wj ^
-r-j^-r
s
^r-
-^-w-~
— N—
fv-
—\
4Hf^
— ^ —
— >' F r — 0 —
— ^ h ^
^ k'
=t=
M-
— ♦—
done with strug - gUn'
I'm bound
soul to
Lord, I'm bound to car - ry my
For melodic relationship cf. **DESO 253; much of our melodic line
can be found in the quoted version, but oh, so differently used! Cf. also WNS
170, where it is interesting to observe the same octave skips approached from
below to the text "almost done traveling" as they occur in our version for
the text : "I'm most done."
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abakddi (3,2,3,
2,2,2) = aa^b (5,5,4) = mm^n = barform.
392
NORTH CAROLINA FOLKLORE
Shout Along and Pray Along
'Shout Along and Pray Along.' Sung presumably by Mrs. W. L. Minnish.
There is besides the ms score also a recording. The latter was made
at Lenoir, Caldwell county, in 1921. For additional texts cf. WSSU 259;
SFSEA 179 and only negligibly so RFSN 130.
F-543
^EEi
i
Et
Shout a - long and pray a - long, ye Heav - en - bound
^^
3
^
sol - diers! Shout
long and pray a - long, I'm
^- r p
^
my-
way! Pray on, sis - ters, and don't you get
±
i^f
^^
ms^
'^1 i
^^
w[e]a-ry; — Nev - er get tired of serv - ing — the Lord.
, 1
' 0 — • — • — #-
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : aa^b (4,4,8)
= mm^n = barform.
635
Somebody's Knocking at Your Door
'Somebody's Knocking at Your Door.' Sung by Otis Kuykendall, Asheville,
Buncombe county, July 18, 1939. The penultimate measure recalls 'Tramp,
Tramp, Tramp, the Boys Are Marching.' It is very closely related to the
measure constituting the up-beat.
F-544
^m
w
i
It's your moth - er; Some -bod - y's knock - in' at your
^
5
door. It's your fa - ther; Some - bod - y's knock - in'
RELIGIOUS SONGS
393
d?=t
at your door.
Go,
Ma
ry,
go,
Mar - tha;
1
your door.
Some
1
bod
ys
knock
7
at
also
l^
=S=5r
i
-^-^
=^±
^ttzXtj^
—I — I-
-# 0-
For melodic relationship cf. **ANS 192, compare measures 1-4 in both
versions; SNS 164-5; BANS i 85 and RFSN 155, same relationship as in
ANS.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: mmin (2,2,4) =
barform.
636
Soon as My Foot Struck Zion
'Soon as My Foot Struck Zion.' Sung by Miss Jewell Robbins, Pekin, Mont-
gomery county, in 1921 or 1922. This version, which is the singer's first,
shares with the second only the tune constituting the stanza, which is exactly
half of the song. The second part of the first version completes the stanza,
whereas that of the second version makes up the chorus, which is totally
lacking in the first. The text accompanying the stanza of the second version
constitutes all of the first version, to be sure, with some repetitions. It is
interesting that still another version exists, by the same singer, with the
title 'Tell My Mother' (F-664), which has the same text for the chorus as the
B version (F-546). Although the text and tune of the stanza of this third
version are totally different, the tune of the chorus in both is very closely
related. For additional texts cf. SSGSI 158-160, No. 36; ANS 62 and RAS
54 (chorus).
F-545
^
^=3
:?^
Soon as my foot struck Zi - on. And de lamps all
1
^
1
lit
de shore, Bid dis world
long fare - well.
^
^
1
And de lamps all lit on de shore, And de lamps all
394
NORTH CAROLINA FOLKLORE
i^
:^
lit
de shore, shore, shore. And de lamps all
S
^
:^=^
lit
on de shore;
Bid
dis world
long
S
:fc
:^
-<s-
fare - well, And de lamps all lit on de shore. —
Scale: Hexatonic (2). Tonal Center: c. Structure: abcda^b^cd (2,2,2,2,2,
2,2,2) ^ aba^b (4,4,4,4). The tonal center is the lowest tone.
'Soon as My Foot Struck Jordan.' Sung by Miss Jewell Robbins, Pekin, Mont-
gomery county, July 1922. The melody of this stanza is clearly derived from
that of first version (F-545). As mentioned in connection with the latter,
the chorus shares the text with that of still another version (F-664) and even
the tunes to both are closely related. The stanzas, however, are totally
different. In the second measure of the chorus as in the third measure from
the end, the phrase definitely ends on e; in the former, the elision is evident.
In this instance, the text does not conform to the structure of the tune.
F-546
:2:
Soon as my foot struck Zi - on, An' de lamps all
^
lit on-
de sho', Bid dis worl' a long fare-well.
-N-
-^— -
-^
=N=-
^.
An' de lamps
all-
ht
de sho'. Oh, you
:t
^
bet
ter walk stud - y, Je - sus a - Hs - 'nin' ; Oh, you
i
d:
-w-
bet - ter walk stud - y, Je - sus died; Oh, you bet - ter
RELIGIOUS SONGS
395
1!^
^
I
walk stud - y, Je - sus a - lis - 'nin' all— day long.
For melodic relationship cf. *ANS 62, measures one and five (Steady,
Jesus listening).
Scale: Irrational (2,7). Tonal Center: c. Structure: abcc^ (4,4,4,4). As
the chorus consists of two 'Stollen' (strophe and antistrophe) mmi, the stanza
constitutes the epode n. Over-all form = nmmi — inverted barform. The
tonal center is the lowest tone.
637
Standing in the Need of Prayer
'Standing in the Need of Prayer.' Sung by Miss Kate S. Russell, Roxboro,
Person county, July 1923.
F-547
s^^
^
It's not my moth - er, nor my fa - ther, But it's
i
-0-r
me, O Lord Stand-ing in the need of
pray
^
m
m.
-N 1
-¥ 1
It's not my moth - er, nor my fa - ther, But it's
^
-*i
-#-=-
me, O Lord, Stand-ing in the need of pray - er. It's
me, it's me, it's me, O Lord, Stand-ing in the need of
^^
4^
pray
er;
It's me, it's me, it's me, O Lord,
Stand - ing
3
i
the need
of
pray
39^ NORTH CAROLINA FOLKLORE
For melodic relationship cf. ***BANS i 94; *ANS 70; NFS 15; RFSN
176.
Scale : Trichordal. Tonal Center : f. Structure : abab^abab^ (2,2,2,2,2,2,2,2) =
aa^aai (4,4,4,4). The tonal center is the lowest tone.
'Standing in the Need of Prayer.' Sung by Newman I. White, Durham, in
1921 or 1922. Cf. Ill 671, No. 637.
F-S48
i
w
E
^ I ' \, ' » - I ' 0~
ay moth - er, 'tain't my broth - er, But it's
'Tain't my
S
me, oh Lord,- A - stand - ing in the need of pray - er.
S
l£
tJ
'Tain't my moth - er, 'tain't my broth - er, But it's
*:
m
i
me, oh Lord,- A - stand - ing in the need of
9
w
9.^.M.
pray - er. It's me, it's me, it's me, oh Lord,- A -
'^
stand-ing in the need of pray - er, It's me, it's me, it's
i
4^
I
i£
d:
V
me, oh Lord,- A - stand - ing in the need of pray'r.
For melodic relationship cf. ***BANS i 94, stanza only.
Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: aa^bbi (4,4,4,4).
RELIGIOUS SONGS
397
640
That Old-Time Religion
'That Old-Time Religion.' Sung by Will (Shorty) Love, Negro janitor at
Trinity College and Duke University, Durham, about 1922. For additional
versions cf. TSFL 663; ANS 99; BANS i 76, and JAFL xxvx 148-9.
F-549
^^^^-
:a=d:
3
Well, a gim - me dis ol' time re - 11 - gion, Yes,
^.
S —
—ft « P» H-
a gim - me dis ol' time re - li - gion, Yes,
^
K-
3
M
:K
^^
gim-me dis ol' time re - li - gion ; It's good e - nough f 0' me. —
Stanza 2
W 2 r
^^
f
'^' ! J r
5
¥ ¥ I ^^—3
For melodic relationship cf. *FSRA 159, the last two measures in both
versions.
Scale : Triadic, plagal. Tonal Center : f. Structure : abed (2,2,2,2) = ab
(4,4) : c is slightly related to a.
640(1)
'That Old-Time Religion.' Sung by Will (Shorty) Love, Negro janitor at
Trinity College and Duke University, Durham, December 9, 1939. This is a
second version by the same singer. In this version our singer treats the
text "Gimme dis ol' time religion" as chorus.
F-550
tJ * *~~^ ^ »
It was good for my moth - er, It was good — for my
J J J
i
moth - er. It was good for my moth - er.
It is
398
NORTH CAROLINA FOLKLORE
9
w
^
me
good
nough for
Gim
this-
^
old
time
gion, Gim - me this
old-
N--tH-
-^
time
re - li
gion, Gim - me this —
old-
time
I
■* '^^'
li - gion, It is good e - nough for me.
For melodic relationship cf. ***FSRA 159; TSFL 663; WNS 184; ANS
99; and BANS i 76 (in all of these, the stanza only); **SFSEA 197, No.
188, compare our first four measures with the first two of the quoted version.
Scale : Mode III, plagal. Tonal Center :
2,2,2,2,2) = aba^bi (4,4,4,4).
g. Structure : abaica^b^a^c (2,2,2,
641
There's a Little Wheel A-Turning
'There's a Little Wheel A-Turning.' Sung by Thomas G. Neal from Laurin-
burg, Scotland county, at Trinity College, Durham, in 1919 or 1920. Cf.
RFSN 168.
F-551
:^
^
S
There's a
lit - tie wheel
turn - ing in
my
^
=^
heart, In my heart, yes, Lord, in my heart. There's a
i
S
l±
lit - tie wheel
turn - ing, Oh, for you, yes,
^^
*:
^
s
^
Lord, for you. There's a lit - tie wheel a - turn - ing in my
RELIGIOUS SONGS
399
^-
S
heart,-
Des
lit - tie whcol a - turn - ing jus' for
P^
^^^^=^
you, Lord, Des
lit - tie turn all my days, yes,
f)
'7\
^
1/
1
• p
V
«
_*
. «
f*
^
«
;
"^
^^ — ; — r; — 1
1 1
J
^
1^
0
J
tj
*< 1
^
"^
^
'
"
Lord, Oh, dere's
lit - tie wheel a - turn - ing.
m
I
—^-.
turn - ing in my heart, A - turn - ing. Lord, for you.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: aba^ca-da^e
(2,2,2,2,2,2,2,2) = aa^a-a^ (4,4,4,4). It should be mentioned that, in the
smaller subdivision, a- is a slight variation of a, and a^ such of a^. Text and
tune do not conform structurally.
644
Tree in Paradise
'Tree in Paradise.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, July 1922. The singer uses the first four lines of the A version (III 677)
and follows them with the chorus. The first line of the latter is sung three
times before the refrain ends with the second line. The second stanza consists
of the second half of the first stanza. The remainder is handled as in the first
stanza. To the list of versions "rare in printed collections" add: FSoA 173;
SS 3; ASoWS 78, No. 121; and SNS 8-11.
Slow
F-55.;
^
S#:
-N-
There's a green tree stand - ing in Par - a - dise,
i
3
Oh, yes,
my Lord. And the Chris - tians — call it the
!^::^
^— N-
iot
^=^^
2
tree of life, Oh, yes,
my Lord. And it's
400
NORTH CAROLINA FOLKLORE
Faster
^
2-ii-
i
Riv
Jor - dan
I'm
bound to go,
I'm
Jor
And it's
Riv
dan
I
m
^
bound to go,
And it's o - ver
^ Slower ,
Riv - er Jor - dan
I
3
-N— f^
my
I'm — bound to go, Oh, Lord, yes,-
Lord.
Scale: Mode III. Tonal Center: b-flat. Structure: abcdee^ed^ (2,2,2,2,2,2,2,2)
= abcc^ (4,4,4,4) ; in this latter analysis, the c^ is somewhat related to b.
The tonal center is the lowest tone.
'Never Mind.' Anonymous singer and ms score. No place or date given. The
trumpet fanfare introducing the first, second, and last measures, should be
noted. An idea similar to "It won't be always so" can be found in ANS
171, "I know the other world's not like this."
F-553
^
S
:2^
Nev - er mind, nev - er mind, nev - er mind, Nev - er
jv-j
^
5t
mind, nev - er mind, Nev - er mind, nev - er mind.
^
W.
For
won't be al - ways so,
mind.
i
?^^
¥
5t
t=|:
There's a tree in Par - a - dise; Chris-tians call it the
m
i
^
Nev
RELIGIOUS SONGS
401
^^=E
W^
^
^
tree of life. Nev - er mind, nev - er mind, nev - er mind,
i
--N-
er mind, nev - er
mind.
mind;
^
^^
For it won't be al - ways so, nev - er
-r$»-
mind.
?
-^-^
I
Scale: Hexatonic (4). Tonal Center: c. Structure: abacaibac (2,2,2,2,
3,2,2,3) = aa2a3aia2 (4,4,5,4,5). Not only is a3 considerably varied but it 'is
also initially incremented. The final a^ is terminally incremented The
tonal center is the lowest tone.
'The Tallest Tree in Paradise.' Sung by Dr. Bradley, Blowing Rock, Watauga
county, September 3, 1939. For additional text cf. NSSUS 116 first two
Imes. '
F-5S4
Oh, the tall
^S
est tree
Par
dise, The
^
^
Chris - tians calls the
tree
Ufe.
Oh, there is
some
~^ ^
bod - y
^
bur - ied in
^ ^ ir-
the grave - yard, There's
=1^
^
some - bod - y bur - ied in the
-^
Wake up in
~^ir—i—
morn - ing a - shout - ing Sound the Ju - be - lee.
For melodic relationship cf. *WSSU 142, No. 44. our first six measures
are based on the melodic progressions of the first measures there.
402
NORTH CAROLINA FOLKLORE
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: nmmi (8,4,4)
inverted barform.
647
We Are Marching On
We are Marching On.' MS score from the singing of Mrs. Asa L. Wilson,
Silverstone, Wautauga county, 1921-22. The evident shortening of values re-
sulting in two five-measure phrases is due no doubt to the unusual five-line
stanza. For additional text cf. ANS 164.
F-555
M
e
^
We are march - ing on, We are march-ing on, To the
i
^
land of
— 7^
Ught,
To the land of love. We are march - ing
-^ J J J
-5f— ^
i5>-=-
on. Where the an - gels wait At the gold - en gate, To con
i
3
^
there
duct us there To a man-sion fair, We are march-ing on.
Scale: Mode III, plagal. Tonal Center: g. Structure: aba^a^b^a^ (2,2,1,2,2,1)
= aai (5,5). This is a rather strange structure; musically speaking, the
additions of "We are marching on," measures 4-5, as well as "To a mansion
fair," measures 8-9, somehow are felt as intruders. This will become obvious if
they are omitted.
651
We'll Sail Away to Heaven
'We'll Sail Away to Heaven.' MS score from singing of Mrs. Norris {not
Morris), Raleigh, 1920-1924. For additional text cf. SS 95, No. 115.
F-5S6
Chorus
^
^^.
p#^
tEE^E^
We'U saU
a - way to heav - en like a feath - er
i
^=^LX-j-a=j
w=^-
in the wind, Feath - er in the wind,- Lord, feath - er
RELIGIOUS SONGS
403
n^ r- r , . 1
i^-\^ — \ ^T-t--i — \ — J — ^ \—^—i=
S^ • 0 1 ,5'-: d >— • 0 0 0 ^—4 J 0 * 1
in the wind; We'll sail a - way to heav - en like
^
fcit
feath - er in the wind; And we'll sail a - way to
Qjy ^ ■ 1
1
1 \ 1 i
r-A 1 ,
X W rt 1 1
1 ^
! 1 1
J 1
Trr\ ^ \) J
1 "^
;
—
9
1 '-'
\M) • J . ^
J
"--^
i) •
"^T
O Chris-tians, don't be wea - ry,
=^
-f J ;■ 1
1
— ^-T-
1
—
— v-
(^
*-^^' 4
— u
i-bi=
— p — 1 —
-4 •
— 0 — 1
— 1—
>— • —
-J-
— J—
*
ry, Lord, wea - - ry, O Chris-tians, don't be
«7
i?=±:
^eS
wea - ry; We'll sail a -way to heav-en by 'n' bye. —
Scale: Hexatonic (6), plagal. Tonal Center: e-flat. Structure: abacdedici
(4,4,4,4,2,2,2,4). It is interesting to observe the unconscious sophistication
evident in measures 19-20 (e), which are an ingenious contraction of b. There-
fore, we might analyze: abacdb^dici == aa^bbi (8,8,4,6). The cadences of
b, c, and c^ are alike.
654
Where My Lord Went to Pray
'Where My Lord Went to Pray.' Anonymous singer from State Prison
Camp at Boone, Watauga county, July 18, 1936. This is only a fragment of
the song given in III 683, but owing to the condition of the record no more
can possibly be heard or extracted. For additional text cf. ANS 103.
F-557
3
s
^
Way o - ver yon - der be - hind the moun - tain, Where
i
i
my
Lawd went
to
pray,
And
he
J' / 1 J J
cJ^ .4
knows, —
nev - er said a mum - blin' word.
God
404
NORTH CAROLINA FOLKLORE
^
teE£
^^
that I have sold
it
to my Lawd - y, Lawd - y
i
h^
^
s
s
IE
*:
Way o - ver yon - der be - hind the moun-tain, Where
i
My Lawd - y
went
to
pray,-
Scale : Hexachordal, plagal. Tonal Center : d. Structure : a. . . . be. . . .
(4 2,2 ). It should be clear that, owing to the fragmentary nature
of this notation, all that can be said in an analytical way is necessarily based
upon incomplete tonal material represented by the fragment.
658
Cherokee Hymn
The melody which according to III 685 "was simultaneously recorded" has
likewise disappeared.
XIV
ADDITIONAL SONGS
659
I Wonder Where's the Gambling Man
'I Wonder Where's the Gambling Man.' Anonymous female singer. No place
or date given. For additional versions cf. NAB 261 ('I Wonder Where's the
Gambler') which refers to SSSA 96-7; also SharpK n 204, No. 152.
F-558
fcis:
fcS
tell you of
^ ' J
a poor young man, who gam - bled
— — — z N-
-fs — K
— r\ Mr— r-
m
night and day. — And he was ta - ken ver - y sick, He
^^^^
tried but could not say. —
Tell me who's the
i
^
J- -^.
^
gam - bling man. Tell me where he's gone. — Tell me
m
:^
^^m
I
M
who's the gam - bling man, Tell me where he's gone. —
Up-beat 4
S
Scale: Mode III. Tonal Center: c. Structure: aba^bi (4,4,4,4). The tonal
center is the lowest tone.
4o6
NORTH CAROLINA FOLKLORE
660
Old Scotch Drinking Song
'Old Scotch Drinking Song.' Sung by Miss Jewell Robbins (Mrs. C. P.
Perdue) to this editor at her home in Gastonia, Gaston county, July 31, 1954.
Unfortunately, Mrs. Perdue could not recall any of the words, which in it-
self is a rather rare phenomenon. She told this editor that Mr. Alexander P.
Leach (father of Mrs. Perdue's brother-in-law) taught it to her when he was
eighty-five years old. His father had come from Scotland in 1812. His
brother, Archibald Leach, born in Scotland, also sang it. They were Baptist
Scotch or Primitive Baptists.
F-559
^
Scale : Mode HL Tonal Center : c. Structure : nmm (4,2,2) ^= inverted bar-
form. The tonal center is the lowest tone.
661
Scottish Drinking Song
'Scottish Drinking Song.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, 1921-22. This is another drinking song from Scotland which had
come down to the singer from her forefathers. The tune exhibits a charac-
teristic of many others which are called 'primitive songs,' namely, the descend-
ing tendency from an initial high tone to the lowest.
F-560
-«-
1^
:t
^-
01'
'is - ter Mc Clag - gle, Sa
ga
la
ga - la
^
gu
rum,
Sa
val
la
ga
dine - tum, Tha
i
^F=^
rang, thang a non e o, Tha rang, thang a non e o.
Scale: Heptachordal. Tonal Center: c. Structure: nmm (6,2,2) = inverted
barform. The tonal center is the lowest tone.
407
ADDITIONAL SONGS
662
Come All Ye Young Ladies
'Come All Ye Young Ladies.' Sung by Mrs. James York, Boone, Watauga
county, August 8, 1940. Contributed by Dr. Amos Abrams. Another title:
'Time Enough Yet.' Our stanza is the last stanza in OFS iii 75-6 version
B. Cf. also JAFL xxxix 182-3; BSM 197-8; JAFL lix 468.
F-S61
Come all ye young la - dies while sweet-hearts are plen - ty, Be
you'U
ways
gret The
J
time you fore - said
was
'time
^: ^t ^
e - nough yet.'
^
^
Time e - nough yet,
^^
S
m
time e - nough yet,
The
time you fore - said
^^==^^^
'time e - noueh yet.'
For melodic relationship cf. **CRS Kit 48, 16, our initial four measures
and the refrain given there; *OFS in 75, No. 369.
Scale: Pentachordal. Tonal Center: c. Structure: aaia2 (4,4,4); the only
change in the three phrases consists in the variation of the first measure in
the second and third phrases. The tonal center is the lowest tone.
663
The Drunkard's Home
2;he Drunkard's Home.' Sung (as a duet) by Mrs. J. and Mr. N. Church,
Heaton, Avery county, August 10, 1939. All the words that could be under-
stood are given.
4o8
NORTH CAROLINA FOLKLORE
F-S62
fei
-J ^ ^ ^
^m
f^m
'^
V -0-
L/ I I I ^ ^ p 1/ 1/
No sun shines bright no smil - ing
^
^
i£
33E5
*'r- : c
r
face,
No lov - ing words to cheer and bless.
I ^
But on - ly
m
3^=?
^ffu^
ISZZJt
:?=f:
;/ U U U f- l/^^
woe and deep dis - tress. No —
peace, no joy, or songs of
love. To — a - bove. But is
i
^
there and woe and gloom, With - in the wretch-ed drunk-ard's home.
Scale: Mode III. Tonal Center: f. Structure: ababcciab (2,2,2,2,2,2,2,2) :=
aaba (4,4,4,4) = Reprisenbar. The tonal center is the lowest tone.
664
I Have No Mother Now
'I Have No Mother Now.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, recorded at Durham in 1921. For additional texts cf. JAFL lix
442; OFS IV 46, No. 612, title only, and FSV 117, reference only; no text or
music given there.
F-563
^
s
f
-^
^
hear the soft winds sigh - ing, Through
^=J^-^^=J:
s
^^^
ev - 'ry bush and tree, Where my dear moth - er's
ADDITIONAL SONGS
409
0
^
t^-
T=^=^
1-
ly - ing So far a - way from me. Tears from mine
6-^—1 — L
^^^^^EE^
E
eyes are start - ing, And sor - row shades my brow, Oh,
=1=
T2^
wea - ry was our part - ing, I have no moth - er now.
Scale : Heptachordal, plagal. Tonal Center : a-flat. Structure : abacdbac
(2,2,2,2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar. The ending of b is the
same as that of a.
665
I Have No Mother Now
'I Have No Mother Now.' Anonymous singer. No place or date given.
This is a version from the collection of this editor, made a considerable
number of years ago. Our stanza is almost identical with the third stanza
given by Miss Jewell Robbins. Melodically (cf. F-563) there are some
important differences, as can already be seen from the two scales. Measures
3 and 7 represent idioms that occur frequently either identically or similarly.
(Cf. 'Tom Dooley', IV 324-6.) Interestingly, in spite of the melodic differences,
the structures are identical.
F-564
I^
My heart now ev - er lone - ly, My life
^
drear and sad. 'Twas her dear pres - ence
ly
That
i
i=h^^-hJ-^
w
made my spir - it glad. From morn - ing un - til
I
w
ven. Care rests up - on my brow, She's gone from
I
^
-<5f--
me to heav - en — I have no moth - er
4IO
NORTH CAROLINA FOLKLORE
Scale: Mode III, plagal. Tonal Center: g. Structure: abacdbac (2,2,2,
2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar. Here too, the ending of b is
like that of a.
666
I Have No Mother Now
'I Have No Mother Now.' Sung by Miss Susie Hageman, Beech Creek,
Avery county, in 1922. For another version cf. OFS iv 46, No. 612.
F-56S
i
3e^
^#=^
-<^-
Tears from mine eyes are start - ing — , And sor - row shades my brow.
g
^?=P=
Oh wea - ry was our part - ing — I have no moth - er now.
Scale : Hexachordal, plagal. Tonal Center : c. Structure : aba^c (2,2,2,2) =
aai (4,4).
667
Morality
'Morality.' Sung by Mrs. Alice Cooke, Boone, Watauga county, in 1922. This
song shows interesting use of a closely related melodic idiom. Cf. Beggar's
Opera, 'Song of Lucy,' No. 46, the middle section of the air : 'The Happy
Clown.'
F-S66
i
^
-<^
-i&-^
While beau - ty and youth are
in their full prime, And
^
S^
^
-55^
fol - ly and fash - ion af - feet our whole time; O
^=E
i=&=^
R-^^-^
let not the phan - torn our wish - es en - gage; Let us
^^
-=^
-7b-
^
Z^
live so in youth — that we blush not in age.
For melodic relationship cf. ***DESO 149, No. 138 (identical text and
ADDITIONAL SONGS
411
tune) ; SOH 44; SAH 136; WSSU 149. No. 79; here the second half of our
tune is missing.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aa^baS (4,4,4,4)
=: Reprisenbar.
668
The Old Armchair
'The Old Armchair.' Sung by Dr. I. G. Greer at Boone, Watauga county.
The MS score was set down June 3, 1915. by Miss Alice Henely. SCSM
ascribes this song to British origin. EASM 148 credits the words to Miss
Eliza Cook, the music to Henry Russell. The song was published by Oakes and
Swan, Boston, 1840. Cf. also WSMML 205; OFS in 224, and JAFL Lxix
456. For an interesting variety of pronunciation and sometimes misunderstood
words compare OFS III 224 version A: "I'll declare" with version B "Ida
Clair," and in SCSM 373 "I declaire."
F-567
i^
m
My grand-moth - er she, at the age of eight - y - three, One
m
^
in May was tak - en ill and died;
And
^
^
=?
H
af - ter she was dead, the wiU, of course, was read By the
^ J- ;
^^L_;
ii
side.
law - yers as we all stood side by
To my
5
^i^
i
^^
broth - er, it was found, she had left a hun-dred pounds, The
^
^
?
same un - to my sis - ter, I do de - clare;
But
^
i=
-#-=-
-* 1-
when it came to me, the law-yer said, *I see, she has
412
NORTH CAROLINA FOLKLORE
fj
left to you her old arm - chair.'
^-
Then how they
tit-tered and how they chaffed, And how my broth-er and my
^
^^
sis - ter laughed, When they heard the law - yer de - clare.
i
^
'Gran - ny has left you her old arm - chair.'
For melodic relationship cf. *WSMML 205, especially in chorus.
Scale : Heptachordal, plagal. Tonal Center : d. Structure : abaca^bacdedie^
(2,2,2,2,2,2,2,2,2,2,2,2) = aa^a^aibb^ (4,4,4,4,4,4) ; d is derived from the same
basic idea as a. Over-all form : mm^n (8,8,8) := barform.
669
Woodman, Spare That Tree
'Woodman, Spare That Tree.' Sung by C. K. Tillett, Roanoke Island, De-
cember 29, 1922. This song originally was composed by Henry Russell, the
words were credited to Geo. P. Morris. Our text conforms completely to that
of this author, but our tune is entirely different. For additional versions cf.
RaW 23-4 and SoA 38-9. Dr. White says : "Common in the 19th-century song-
books and readers." Cf. remarks in EFSSC no.
F-568
ih
=a:^^
:J=t
ii:
-^^^— ^
Wood - man, spare the tree ! — Touch not a sin - gle bough In
^
B
:i=it
youth it shel - tered me, And I'U pro - tect- it now. —
Scale: Mode III. Tonal Center: f. Structure: abab (2,2,2,2) = aa (4,4).
Every phrase cadences on I. The tonal center is the lowest tone.
670
Chewing Gum Song
'Chewing Gum Song.' Sung by J. T. C. Wright, Boone, Watauga county,
in August 1922. For additional texts cf. APPS 274 (the text quoted there
is the text of our fourth stanza) ; JAFL lix 431.
ADDITIONAL SONGS
F-S69
f£
±
^
Oh once
had
pret - ty lit - tie girl, The
l^
^-
=1=:^
pret - tiest I ev - er did see. Her age it was but
1^*=
— 1 —
-
4 -
€^ — h-
1 —
^-
— J — '
' — ^
•» -
— # —
i'
— ,5!--—
sev - en - teen, And dear - ly she loved me,
And
l=i=^
-* •
^1
I^
-<&-r
dear - ly she loved me, — And dear - ly she loved me. Her
m
w
age it was just sev - en - teen And dear - ly she loved me.
For melodic relationship cf. **OFS iii 74, No. 368-B, measures 2-4, 7-8,
and 15-16.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : abaibcciaib
(2,2,2,2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar.
671
Mississippi Lawyer
'Mississippi Lawyer.' Sung by Miss Jewell Robbins, in Durham, 1921. The
title is that given in the catalogue. It takes a Philadelphia lawyer to un-
earth the fact that this individual is no lawyer at all but a Mississippi
sawyer! Cf. Ford 183-4, who calls it "one of the rare old tunes of American
fiddle lore." There is no text given anywhere besides the remark : "Jog — no
words." For a similar beginning cf. J. S. Bach Cantata No. 208.
F-570
^^j=^-4J=4.^=^^M^.^
^a^
5»=it
X-; J ; j'lf-^^
^3E^
s
414
NORTH CAROLINA FOLKLORE
^
i-c— fc
m
^
jtZZlt
:l£
^
For melodic relationship cf. **Ford 32.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : aa^bcdedc
(2,2,2,2,2,2,2,2); d is related to b. Over-all form: abcc^ (4,4,4,4) = nmml
= inverted barform.
672
Negro Song
'Negro Song.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
1921-22. The singer used the same tune, with negligible variations for her
version of 'I Got a Girl' (F-413). At the time when this editor was occupied
with the transcription of all the tunes not all of the text could be understood
and the singer, then Mrs. C. P. Perdue of Gastonia, when asked about it
could recall no more of the words. Later on, having lost her husband, she
moved to 13 Charlton Drive, Hampton, Va., and this editor on July 7,
1958, received a letter from her giving the additional text found below.
F-571
m
s*
Let's
sing
What you gon
do
i
^
^^=^^=^
^
Tie a - round a string.
For melodic relationship cf. TNFS 156, second half of measure two.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abcb (2,2,2,2) =:
ab (4,4). In this latter subdivision, the endings of both phrases are the same.
Every phrase cadences on L Text supplied by singer :
Sing, sing, what you gon'er sing?
Doodle bug, doodle bug, tied on a string.
673
Sally Ann
'Sally Ann.' Anonymous singer and MS score. No place or date given.
The text is identical with that of SharpK 11 351, No. 240 (Jig). Cf. also
JAFL xxviii 183; ibid., xli 575, No. viii, and lix 462.
ADDITIONAL SONGS
¥^^^
F-572
where are you go - ing,
9^— 0 4
- ly Ann? O, where are you
^
go
ing Sal
ly Ann? I'm go - ing to the wed - ding,
r r r
=^=1
Sal - ly Ann. O, shake that lit - tie foot, Sal - ly Ann, O, •
=1:
shake that Ut - tie foot, Sal - ly Ann, O, shake that lit - tie foot,
-■^m
m
- Sal - ly Ann, You're a pret - ty good danc - er, Sal - ly Ann.*'
Scale: Mode III, plagal. Tonal Center: g. Structure: aaia2a (4,4,4,4).
674
Twinkle, Twinkle, Little Star
'Twinkle, Twinkle, Little Star.' Sung by Miss Hattie McNeill, Ferguson,
Wilkes county, in 1922. No text is given in the ms score. For additional
texts cf. Ford 401; Owen 102; BTFLS 1923, 43, and APPS 337. No. 113
(first stanza and chorus). The tune of the chorus resembles very closely
that of a Czechish Dance : Polka.
F-573
i
h
--!■ n, n
d 4
^^
^
-4 — #^
i
^
1.^ P* r
4i6
^
^
?
NORTH CAROLINA FOLKLORE
^
^^
-frrzfv
f* 1
-nr^. 5 i-^^i^^
-N— ^
:^=f=
For melodic relationship cf. *Ford 5.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: ababcc (2,2,2,2,2,2)
= aab (4,4,4) = rnmn = barform. In the smaller subdivision, b shares the
initial measure with a.
675
Lullaby
'Lullaby.' Sung by J. Hauser of Pfafftown, Forsyth county; recorded at
Durham, July 28, 1923. Additional titles : 'O Birdie' and 'Put Me in My Little
Bed,' BSM 279-80; also for text of second stanza of 'Molly Darling,' the chorus
of which has identical text {ibid. 608).
F-574
i
m
^
ed
bird
le,
tir
now,-
i
^
t
^i=f-
3
^
do not care to hear you sing. You sang your hap - py songs all
i
r5
— V
^
-0-r-
day, — now put your head be-neath your wing. Come
t^
sis - tor, come kiss me good-night, for I my ev-ening
^
prayer have said, I'm
tir
ed
now and sleep - y
ADDITIONAL SONGS
417
i
m
i
:^
--A-
m
0 y
too ; —
put
mv lit - tie
bed.
For melodic relationship cf. ***Ford 330; the stanza here has eight ad-
ditional measures which our version lacks.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : abab^cdab^ (2,2,2,
2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar.
676
Mr. Bull Frog
'Mr. Bull Frog.' Sung by C. G. Knox, Durham, 1922-24, ms score. No
text is given there. Same tune as 'Little Brown Jug.' The tonal material
represents merely the upper tetrachord of a scale which presumably would
be G major.
F-575
m=F-
^
s
*
-tr— N
=^
K-jS
-^U-^p-
/^^ J
.Mzji
Scale: Irrational (2,3,4), plagal. Tonal Center: g. Structure: ab (2,2).
The tonal center is the highest tone.
677
Ridin' of a Goat, Leadin' of a Sheep
'Ridin' of a Goat, Leadin' of a Sheep.' Sung by Miss Beulah Walton, of
Morrisville, Durham county; recorded at Durham, July 25, 1923. For ad-
ditional text cf. ANFS 301, No. 31. In our version, the goat changes place
with sheep in contrast to the version quoted.
F-576
i
w
\ Rid - in' of a goat and lead - in' of a sheep,
^^
-^- ^
Rid - in'
of
goat and lead - in' of
sheep,
i
5' J: J J'
*:
^
Rid - in' of a goat and lead - in' of a sheep, I
1
-^ :3-
the week.
won't be back 'till the mid - die
of
4i8
NORTH CAROLINA FOLKLORE
Scale : Mode III, plagal. Tonal Center : f. Structure : aa^ab (2,2,2,2) = aa^
(4,4) ; the ending of b is identical with that of a^. Circular tune(V).
678
Trip, Play-Mo-Blay
'Trip, Play-Mo-Blay.' Sung by Mrs. Mittie Ellis Henley, Raleigh, Wake
county, in 1931. There are two ms scores, which, however, are identical.
N. I. White notes : "The singer said she learned this from her mother and
her uncle, Rev. Wm. B. Jones, about 50 years ago." The score was transcribed
by the Rev. E. McNiel Poteat, Jr. In the opinion of this editor, there is
definitely a chorus which, however, should begin with the second half of the
twelfth measure. The ms score gave the tune as noted.
F-577
^
One Sun - day morn - ing ear - ly, My pon - y I be -
-^
strode, And by Miss An - na's cot - tage I took the well known
road. It was my great - est pride That she should see me
ride, Trip trip, trip pon - y, Trip, trip, trip, trip,-
i
*3
Trip play - mo - blay. Trip, trip, trip pon - y, Trip, trip, trip, trip, —
1 and 2
'V"
i
^
Trip, play - mo - blay.
drip - ping home I
go.
Scale: Hexachordal (only the third stanza is heptachordal). Tonal Center: c.
Structure : aba^cbbdd (2,2,2,2,2,2,4,4) ; d is related to b. If the chorus begins
as suggested above, then the first twelve measures could be reduced to aa^b.
But this would not be a barform, as the 'epode' is merely a repetition of a^.
If, however, we take these same measures as epode, then we have an inverted
barform: nmm (12, 4, 4). The tonal center is the lowest tone.
ADDITIONAL SONGS
419
679
What Makes the Wild Cat Wild?
'What Makes the Wild Cat Wild?' Sung by R. D. Ware from Albemarle,
Stanley county; recorded at Trinity College, Durham, August 3, 1922. N. I.
White notes : "Popular at Trinity College as a campus song. I learned it there
about 1911." For a similar kind of song cf. JAFL xxvi 136.
F-S78
St
^
■±:
^^^
^
^=?
tst-
■^it— • — *
What makes the wild cat wild, boys? What makes the wild cat
^
w
w
^ ^r— i^ ^ ijr
wild? What makes the wild cat
^ ^~
wild, boys? What makes the
^
^
=J^3=±
^
— V —
wild
cat
wild?
I'll
ask
you
gam
i
i
per - son - al friend What makes the wild cat wild?
Scale : Mode III, plagal. Tonal Center : f. Structure : aa^aa^bc (2,2,2,2,2,2)
=: mm^n (4,4,4) = barform.
680
The Keeper
'The Keeper.* Sung by James York, at Boone, Watauga county ; recorded
by Dr. Amos Abrams, September 8, 1940. This is an English folksong:
'Warwickshire.' The other stanzas of our version differ in their numerical
occurrence and, to some degree in text as well, from other versions. For
example, our second stanza is fourth in FSCSG, our third is the same there,
our fourth is new, but has some similarity with three. In the chorus, the
short phrases : "Jackie, boy" or "Master," etc., are sung by alternating voices.
Both then come together in "Among the leaves, so green, O."
F-579
:=2
m
A keep - er did a - shoot - ing go, And un - der his
m
^
cloack he car - ried
bow,
All for to shoot at the
420
NORTH CAROLINA FOLKLORE
m
i
5
mer - ry lit - tie doe, A - mong the leaves so green, O.
^
^
i
Jack - ie, boy! Mas - ter! Sing you well? Ver - y well.
P^^
w
Hey down! ho down! Der - ry, der - ry down, A- mong the
m
?
leaves so green,
i
To my hey down, down! To my
w
ho down, down! Hey down! ho down! Der
ry,
s
^:
^
der - ry down, A - mong the leaves so green, O.
For melodic relationship cf. ***CRS Kit 24, No. 100; FSCSG 42; SCFS
68-69, I.
Scale : Hexachordal. Tonal Center : c. Structure : aabcdb^c^dib^c (2,2,2,
2,2,2,2,2,2,2) = aabcb^cibi (2,2,4,2,4,2,4) = nmmi (8,6,6) = inverted bar-
form, of which the epode in itself is in barform. The tonal center is the lowest
tone.
681
Venison
'Venison' (Hunting Song). Sung by Otis Kuykendall, Asheville, Buncombe
county, July 18, 1939. The words at the beginning could not be understood.
Cf. here AnFSC 34-5. Melodically, compare the first two measures with
those of IV 331, No. 316 and measures 5-6 with the corresponding initial meas-
ures of 'Swing Low, Sweet Chariot.' For a similar refrain cf. EFSS 50-1
No. 24, and PMOT 346.
F-S80
il^UlM
3:
'Twas
-<5'- -«- -*-
^^
Sun - day morn - ing. And the ground all cov-ered in
ADDITIONAL SONGS
421
SE
:^
i
snow, I put my shoul - der
to my gun And a
fcv
i
w
S
3^
-^-*-
^
^^
SL
hunt-ing I did, And a hunt-ing I did go.
3
±1
3^
a
^
^^=^
^
it:^
fif - teen and twen - ty Ten
1-4
thou-sand I did
Ten-
it
^^
3f=:
ifc
jtz:
22
-9 —
The mon - ey that I got For ven - 'son and skin, I
For melodic relationship cf. **AnFSC 34-5, measures 1-6.
Scale: Irrational (2,4), plagal. Tonal Center: f. Structure: abed (2,2,2,4);
d is mostly built of a contraction as well as development of a.
682
Away on a Hill
No title given. Anonymous female singer. No place or date given. The
beginning reminds us somewhat of the artillery song and the ending of 'He
Done Her Wrong.' No other version or reference could be found. Cf., how-
ever, HI 495, No. 412 and editorial note, as well as OFS iv 388, No. 860;
MSON 43-5 and 136-7. Not all the words could be recognized.
F-581
^
t=t:
way on a hill, a sun - ny moun-tain side, When
we part - ed
On the
=^
--f=f^
=t=^=J
ny moun-tain - side. Car - ry me back to old Vir-
^
*:
^
422
NORTH CAROLINA FOLKLORE
^
J-T-^^^
r;i'^--'^rrrrti
^g^.^J' ;^^^
w
Scale : Heptachordal. Tonal Center : d. Structure : nmmi (6,4,4) = in-
verted barform. The epode is in itself an application of the bar-form principle.
The tonal center is the lowest tone.
683
Childhood Days
'Childhood Days.' Sung by Mrs. G. L. Bostic, Mooresboro, Cleveland coun-
ty, in 1939. Another title given was : 'Sweet Nell.' Cf. 'Swinging in the
Lane' (F-628).
F-582
rfi
s^
2. The boys and girls I used to know Went fish - ing in the brooks
^
^
m
With spools of thread for fish - ing lines, And bend - ed pins for hooks. —
2 6 7
:^
V v — i
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2) =
ab (4,4).
684
Enoch Arden
'Enoch Arden.' Sung by Mrs. N. T. Byers, Zionville, Watauga county.
The text for the ms score was furnished July 24, 1922. The score gives
only the chorus, but the same tune repeated will also serve for the stanza.
F-583
Chorus
1
PP^
ifi
fcj
Good - bye, An - nie dar - ling, Break off from thy sor - row, 'Tis
II
-75i32^^-#-
sad that our part - ing must be; — I'll sail the seas o - ver, I'll
ADDITIONAL SONGS
423
^
I K K
^
^^
cross the wide o - cean, I'll sail the seas o - ver for thee. —
Mode III, plagal. Tonal Center: g. Structure: abab (2,2,2,2) = aa (4,4).
Circular tune (V).
685
Essie Dear
'Essie Dear.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county. No date given.
F-S84
^4=^
±=k:
I am wait - ing in the wild - wood, Es - sie, dear, Be -
EE
:g:
side the streams that mur - mur sweet and low,
^ ^ f^ f^ -f^ N s
In
^
nook we've known from child - hood, Es - sie, dear, Where we
i
of - ten roamed in, man - y
days
go. Where the
?
birds are sing- ing in the trees — Where joy-ous car-ols
^
ech - o through the dell And the vi-olets are smil-ing in the
:^
I
-J2Z
breeze. Their hap - py, hap - py tale of love they tell.
Scale: Hexatonic, (4) plagal. Tonal Center: b-flat. Structure: abacdeac
(2,2,2,2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar.
424
NORTH CAROLINA FOLKLORE
686
Sweet Evelina
'Sweet Evelina.' Sung by Dr. I. G. Greer, us score, Boone, Watauga county,
in 1922. There is also a recording. For an interestingly different version,
of which the text is well known, cf. here ABS 211, No. loi ; also ETWVMB
87; JAFL Lix 466 ('Sweet Evalena'), and JFSS V 315 ('My Dear Evleen;
Arah').
F-585
m
E
Way
down
in the val - ley where the lil - ies first
^^
bloom-
And the winds of the moun- tains nev - er
1"T^
^
ruf - fled
i
rose, There lived
9
E - ve - lin
the
r^'^^^'i'
N N
dear lit - tie dove, She's the pride of the val - ley and the
^?^
w
girl that I love. Dear E - ve - lin - a, Sweet E - ve-
' y 1 h
-^ -*■ ^
li - na, My love for thee — will nev - er, nev-er die.
For melodic relationship cf. **Ford 142, measures 1-4 and 9-12 of stanza;
also 3-4 of our chorus and the first two of the quoted version; *BTFLS 94,
III, No. 4.
Scale : Mode III. Tonal Center : b-flat. Structure : abaica2ci (4,4,4,4,4,4) ; b
is closely related to a. One might reduce this to: aa^a^ (8,8,8). The tonal
center is the lowest tone.
687
Faithful Friend
'Faithful Friend.' Sung by Mrs. Alice Cooke, Boone, Watauga county, 1921
or 1922. There is also a ms score. Not all of the text could be understood.
For a similar text cf. OFS iv 305, No. 792.
ADDITIONAL SONGS
^^
ifct
--A-
-^
When
^
0 F
first I saw yo«r smil - ing face And youth was in its
^^
^-^
jtd
prime. When like
turn to like
set
^^
i£E£5i
free. — And ev - er since I've found you've been a faith - ful
J ; J ;:
s
friend to me. — It mat - ters not wher - e'er I am, Wher-
i
i^
s
er you may be-
If
have
I
had a friend you've been that friend to me.
Scale : Heptachordal, plap^al. Tonal Center : f. Structure : ababcb ('4,4,4.
4,4,4) ; the second half of c is closely related to a.
688
Flitting Away
'Flitting Away.' Sung by Mrs. Arizona Hughes, recorded at Upper Hinson's
Creek, P. O. Spear, Avery county, August 27, 1939. The first two measures
and related parts are identical with those of "Last night as I lay on my
pillow" from the old song 'My Bonnie Lies Over the Ocean.' The cadences
of the various phrases also match those of the latter song. Our song furnishes
another good example of the fate of a tune through all its travels. Not all
the words could be understood.
F-587
^
I'm long - ing-
for the
426
NORTH CAROLINA FOLKLORE
^=a
12^
flow - ers that have bios - somed and fled.
—J f^ N-
For the
^
^
S^
hearts that are burst - ing with long - ing-
For the
^
grass that's all with - ered and dead-
Beau-ties I thought
lb
3
ne'er would per - ish-
One by one fad - ed a-
3^
^
^3=
way. — The — bless - ings of earth that we cher - ish,-
s^-
i^^p^
-■g. • ^p
That is lov - ing and true that will stay.
Flit - ting — flit - ting- a - way
All that we cher - ish most
-gy.-ryp
^#
^^
dear, — There's noth - ing on earth that will stay-
^
—^. ^ iT
Ros - es must die with the year.
9 and 11
1
i
J * •
-ij — \
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abacddac a^b^ac
(2,2,2,2,2,2,2,2,2,2,2,2) = aaiba^a^ai (4,4,4,4,4,4). As aa^ba^ is a Reprisenbar
ADDITIONAL SONGS 427
comprising the stanza, the over-all form would then be : Reprisenbar plus
strophe, a compound form.
2nd stanza :
are sleeping,
Are the beautiful dreams of the past,
And the eyes of the weary with weeping-
Or the hopes that we fancied might last.
Lovingly, longingly, sighing,
Over the ashes we sit.
While the roses about us are dying
And the moments
3rd stanza :
There were eyes that were gleaming.
There were lips that ,
That the mold of the grave now is dimming
In silence unbroken
689
Goodbye
'Goodbye.' Sung by C. E. Buckner, Asheville, Buncombe county, May 1920.
Among numerous other songs, this also belongs to the group known as Folk-
lyric. Cf. 'Little Bunch of Roses' (F-S99). The typewritten sheet states:
"From the mountains of western N. C." For similar text see F-599.
F-588
i
m
i^
tj
Dar
ling,
have come
to
teU
— sr
you
i
m
¥
s
Though this mes - sage breaks my heart.
By the dawn - ing
i
J' ;■ h I J.^
w
of to - mor - row, You and I,
Scale: Hexatonic (4), plagal. Tonal Center:
my love, must part,
f. Structure : abab^ (2,2,2,2)
= aai (4,4).
2nd stanza :
Take this little bunch of roses
That you gave me long ago,
I have kissed them and I've blessed them,
But I'll kiss them never more.
3rd stanza :
When the whippoorwill is singing
On some sad and lonesome sea,
428 NORTH CAROLINA FOLKLORE
Tell me, oh my darling, tell me.
Won't you sometimes think of me?
4th stanza:
When the golden sun is setting
On some calm and distant sea;
When of others you are thinking
Won't you sometimes think of me?
5th stanza:
You may go and court another,
Try and win her for your bride.
Not a tear shall fall in silence,
Love can never conquer pride.
6th stanza:
When you think that you have gained her.
Cast one lingering thought on me.
Think of her who prayed in secret,
Think of her who died for thee.
7th stanza:
You have wrecked the heart that loved you,
You have broken every vow.
You have learned to love another.
And my heart is broken now.
8th stanza:
Goodbye, little darling, I must leave you,
Though it fills my heart with pain,
I must say, "Goodbye, God bless you,"
We may never meet again.
9th stanza:
When my eyes in death are closing
And my lips are pale and cold,
Don't forget me, little darling.
For I love you best of all.
690
Goodbye, John
'Goodbye John.' Sung by Miss Laura M. Cromartie, Garland, Sampson coun-
ty. No date given. Beginning is slightly like that of 'Little Brown Jug.'
F-589
^^
Ir 4- d
Good-bye, John, Don't stay long. But come back home to your
i
^F=it
»
beats
own chick - ie - bid - die, My — heart
to
ADDITIONAL SONGS
429
g^
^^
m
see you go,
Don't for - get your dar - ling.
Scale: Heptachordal, plagal. Tonal Center: b-flat. Structure: abac (2,2.2,2)
= aai (4,4). The tonal center in this song is the lowest in frequency. Text
and tune do not conform structurally.
691
I'll Be All Smiles Tonight
'I'll Be All Smiles Tonight.' Sung by Dr. I. G. Greer. No place or date
given. The singer remarked: "Sentimental song of about 30-50 years ago."
For identical or related texts cf. OFS iv 334; Ford 414-15; JAFL lix 442.
Compare our melody with that of F-63S, which, melodically speakmg, 13
closely related.
F-590
:2:
m
^^
^
I'll deck my brow with ro3 - es. The loved one may be
=?■
^
there. The gems that oth - era gave me, Will shine with -
m
^
i
my hair. And e - ven them that know me, Will
3E
S
think my heart is
±:
-K--
light, Though my heart will break to-
:^
mor - row.
I'U be all smiles to - night. I'll be all smiles to
^
^
night, love, I'll be
all smiles to - night. Though my
#
m
heart may break to - mor - row, I'll be all smiles, to - night.
430
NORTH CAROLINA FOLKLORE
For melodic relationship cf: ***MemM 117; Texas FS 138-40; also 295
(editor says: "song published 1879") ; **PTFLS 333, No. xiii; Ford 137, the
general outline of the melody in both versions is quite alike. It is interesting
to observe what the same tonal material as well as progressions results in
when handled by different singers. Note the change in meter.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: aba^cac (4,4,4.
4,4,4) =: aa^a^ (8,8,8). The first two measures of c are identical with those
of b.
692
I'll Give You My Love
'I'll Give You My Love.' Sung by Mrs. H. G. Herring, of Tomahawk, Bladen
county, no date given. Although the ms score gives no text, nevertheless,
judging from all evidences, melodic and rhythmical, this tune seems to belong
to the series of 'Paper of Pins.' (Cf. F-i.)
F-591
=1=
77"! J J J J I r ^^r^^
t
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abed (2,2,2,2).
693
I Loved You Better Than You Know
'I Loved You Better Than You Know.' Sung by Miss Hazel Halsey, Piney
Creek, Allegheny county, in 1922. A practically identical text can be found
in OFS IV 215, No. 738. The Ozark version has a chorus, while ours has
none. The very beginning of our tune is a slight variation of 'Home, Sweet
Home.'
(^)
m
F-592
Mi ;
Our-
hands are clasped the last for - ev - er, Per -
I loved you as I
haps we'll nev - er meet a - gain,
i£
^
:J^
m
v/
loved no oth - er, this part - ing fills my heart with pain.
ADDITIONAL SONGS
431
^^
5^
£
W^
You-
ask and free - ly I for - give you, This hap - py
^
^*E5^i=2
past I must for - get, And as
wan - der on in
I
m
f
^^
sor - row, I hope that you'll be hap - py yet.
Scale : Heptachordal. Tonal Center : c. Structure : abcdabcd (2,2,2,2,2,2,2,2)
= abab (4,4,4,4). The tonal center is the lowest tone.
694
In the Shadow of the Pines
'In the Shadow of the Pines.' Sung by Bascom Lamar Lunsford, Turkey
Creek, Buncombe county. No date given. There was another version credited
to Miss Hattie McNeill, but this record was destroyed in transit to the
Library of Congress. The typewritten text, however, which was to go with
that tune is almost identical with that of our present version. Another text
given by Miss Pearl Webb of Pineola, Avery county, has two additional
stanzas. The beginning of our tune to the chorus reminds somewhat of 'Les
Preludes' by Liszt.
F-S93
i
^^
^
fc^
:^
We wan - dered through the shad - ow of the pines, my
^
t=^
-Js, ^, i- N (
^
i
love and I,-
As the wind was blow - ing fresh - ly from the
^
l£
tJ
sea; When the sud - den, fit - ful dark-ness stole a
9
^
^
cross the sum-mer sky. And the shad - ow came be
432
NORTH CAROLINA FOLKLORE
r^
tr
^^
tween my love and me. Some hast - y words were spo
iitj 1
1
1\ N N 1 —
#^
— ^—
— N N ^ —
' d i-:—
-^ •
P 1^ ^5 —
— #-: ^ a ^ —
=fc=^
t>
-iH
1 — 0 ^ 0-^-
— •
— • •
ken and al - most im - a-wares, Hast - y an-swers to un
S:
:fc
i
^
think - ing an - ger — led. And our hearts felt bit - ter
n=^
'^
^
^
long - ings, and our weep - ings and our prayers Ne'er can
-9—b — s—
— \ —
^
s ^
¥^A~^
— s —
— P —
— ^ —
— *i —
IS .
^
=#-
P^ J"
tj
— « —
— 5^— A^^^5 —
1 — .^ ' I
— • •-;
make those false and cru-el words un - said.
Come back to
-9-j> — ^-
fv—
1
/ b I-. J
^
|N
K
N
N
K
f( yi^O •
J
J
P
is ^
J •
fJ
#
^
— #'
•—it-
-/ '
y
me, sweet -heart, and love me
as — be - fore. —
^
^
^m
tJ
Fly back to me, sweet-heart, and leave me nev - er more;
fc
s
In life's
* *~^' — * ^3^ —
dark path-way the sun no long - er shines,
i
=^
±-^
Come, love, — and meet me, in the shad-ow of the — pines-
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abacdeacfgfigi
(2,2,2,2,2,2,2,2,2,2,2,2) = aaiba^cci (4,4,4,4,4,4). As the stanza aa^bai is a
Reprisenbar, the over-all form again is a compound structure : Reprisenbar plus
strophe. Additional text furnished by Miss Pearle Webb:
ADDITIONAL SONGS
433
2nd stanza :
You took the ring I gave you, nor cast a glance at me,
As you lield the jeweled trinket in your hand;
And then you turned and tossed it in the waters of the sea,
When the waves were splashing idly on the sand,
You went your way unheeding the tears I could not hide,
You went your way and not a word was said.
But my stubborn heart was breaking underneath its mask of pride
And the pine trees sobbed in pity overhead.
3rd stanza:
I awoke from bitter dreamings, but to call aloud your name;
I sleep again to dream of you once more;
And my stubborn pride has left me, I admit I was to blame,
Forgive me, dear, and love me as before.
For tlie future is o'ershadowed with the darkness of despair,
In the sky of life love no longer shines,
And I'd give the whole world gladly once again to meet you there.
Reunited in the shadow of the pines.
695
In the Shadow of the Pines
'In the Shadow of the Pines.' Anonymous singer. No place or date given.
Only the chorus is given, which closely resembles that of F-593 (cf. re-
marks there) ; the difference is that our present chorus is less melismatic in
its melodic line.
Chorus ^^
F-594
f) 1
„ -
y 9
1 1
1 ,
/ ^ J
m s
P
k
f f A 0 <sJ m •
\ N ' .
<i
— U 1 1
1 •
(^ •
==i=*-
'
Come back to me sweet-heart and love me as be - fore
^
S
F13
0
r back to me
3
sweet - hea
rt.
and
leave me nev
- er -
more,
y
1 1
N
1 N
/T
fTJ
i(V\ '^
^ J •
i
• ^
1^
J
^
K]) - -
1
1 4 . m
t)
0
In life's dark path - way, the sun no long - er shines,
E
■»-r-
1^
I
—I-
--^
'31
- in the shad-ow of the pines.
Tonal Center : f. Structure : abaca^ba^d
Come love, and meet me
Scale: Hexatonic (4), plagal
(2,2,2,2,2,2,2,2) = aaia2a3 (4,4,4,4). In the latter division, the a^ is con-
siderably modified; the beginning of each phrase, however, is the same or al-
most so.
434
NORTH CAROLINA FOLKLORE
696
I Want to Be Somebody's Darling
'I Want to Be Somebody's Darling.' Sung by C. E. Buckner, Asheville,
Buncombe county, May 6, 1920. Cf. Ill 320, No. 272; one line of our text
can also be found ibid., 412-13, No. 350 A, B, and C.
F-595
i
i
to
be some - bod - y's dar - ling-
I'm
tired of liv - ing a - lone
To be queen o - ver some
^
^
lit- tie king - dom, To be queen o - ver some lit - tie home.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2)
c is quite related to a. Over-all form: ab (4,4)-
697
Just Give Him One More as He Goes
'Just Give Him One More as He Goes.' Sung by Dr. I. G. Greer, Boone,
Watauga county, 1915-16; ms score. For similar text cf. OFS iii 88,
'I'll Give You One More as You Go'; also known as 'Sic Him, Towse.'
F-596
4-
i
m
^
^
m
w
Bz
My sweet-heart's a kind - lit - tie miss, — And I
i
ft^ f t
3E3
love her most dear - ly you know, — But when I ask
i
:t5=f:
b j^ /
^
for
kiss-
She gives me just one and no
i
more. — She gives me just one and
no
more, — She
ADDITIONAL SONGS
435
i
^
i^-f—r
^
gives me just one and no more, — But when I ask
1^' ^V--^^±^^^^=^=^^4^
«. for a kiss — She gives me just one and no more. —
Scale: Hexachordal. Tonal Center: f. Structure: aba'cab^ac (2,2,2,2,2,2,2,2)
:= aa^aai (4,4,4,4). The tonal center is the lowest tone.
698
Leap Frog John
'Leap Frog John.' Sung by Mrs. Eliza Sanders, Jonas Ridge (Rip Shin
Ridge), Caldwell county, June 30, 1940. Mrs. Sanders is the mother of
Estalina Graybeal and Millie Ann Sanders. Our first four measures are
identical with the first two of 'Little Musgrove and Lady Barnard' (IV 56,
No. 26G). Our first two measures are also identical with the first measure of
'Down Under the Hill' (V, F-52) ; this measure is repeated in our present
tune, but not in the former. The second measure of F-52, however, modified,
is the third in our tune, and our seventh measure is the fourth there. The
cadence in both is the same. Our first eight measures are closely related
to the first four measures of 'Maid Freed from the Gallows' (IV 77, No.
30A) and the general melodic progression of IV 331-2, No. 316.
F-597
!#=
i
^
=*
^iE^
3
A poor lit - tie man liv - ing un - der the hill And his
^
^
name is — Leap frog John-
-i J-;'! J: J-
Old man is eo joy - ous and
N
m
eas
1-2
y to please As a - limp - ing on his way he goes.
4-6 K
^=^^^=^
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (4,4,4,4).
2nd stanza :
He's out at the elbow, and lame in the knees,
And he talks through his nose.
436
NORTH CAROLINA FOLKLORE
Old man is so joyous and easy to please
As a-limping on his way he goes.
3rd stanza :
When he shuts up the shop and the sun sets low
And the cows from the pasture come,
Oh ! He's playing for .... along with his bow
As he fiddles taw, tee, taw, tum.
699
The Letter That Never Came
'The Letter That Never Came.' Sung by Miss Ruth Black, Piney Creek,
Allegheny county, 1921.
F-5Q8
^^
-t> \-
-K-#-
let - ter here for me?' Was the ques - tion that he ask'd
^
^:^
Of the mail - man at the close of day.
He turned
sad - ly with a sigh, While a tear stood in his eye,
i
^ I
I^Zjt
^ - • - "2?
Then he bowed his head and slow - ly walked a - way. Was it
^^^
from
grey hair'd moth - er,
sis - ter or
^
w
s
— s — *«
S
broth - er? Had he wait - ed all those man - y years in
A -^M--^-^-T-^^-^
—f—
~ii — ^ — 2 — ■
-t-
—V —
_* — ; — ^ —
vain? Yet from ear - ly morn-ing's light He would watch with spir -
fe
:4:
^^
1
3
its light, But the let - ter that he longed for nev - er came.
ADDITIONAL SONGS
437
For melodic relationship cf. *WSMML 36, compare melodic idioms at
certain words : "he ask'd," "a sigh," and "morning light."
Scale: Heptachordal. Tonal Center: d. Structure: abahicc^a^bi (2,2,2,
2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar. The tonal center is the lowest
tone.
Little Bunch of Roses
'Little Bunch of Roses.' Sung by Mrs. Ephraim Stamey, Altamont, Avery
county, July 16, 1940. The rather unusual structure of three measures per
phrase is due, no doubt, to the singer's inability to sustain the otherwise held
tone at the end of each phrase. Cf. F-588, and JAFL lix, 448. Not all the
words could be understood. For similar text see F-588.
F-599
3
Dar - ling, I have come
to
1^^^— n
teU
you
How this
3
sage breaks my heart, For I'm go - ing out to
3
mor - row,
122:
i
You
and
I, my love, must part.
i
9-10
^
EB
zsz
3
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab^ (3,3,3,3).
2nd stanza :
'Take this little bunch of roses
That you gave me years ago;
Often, darling, I have
I'll never kiss no mo' (re).
3rd stanza :
When you're in bed a-sleeping.
Sleeping on
I am your true love broken hearted.
Listening to the wind that mourns.
701
The Little Logwood Cabin
'The Little Logwood Cabin.' Sung by Bascom Lamar Lunsford, Turkey Creek,
Buncombe county. As the original recording was of very poor quality, this
editor asked the singer, who visited him in Chapel Hill in 1952, to sing the
song once more.
438
NORTH CAROLINA FOLKLORE
F-600
2
R .!} ft
^
i
1^13
^
W
There's a lit - tie log - wood cab - in way down in
^^
^
^
^
Ten-nes - see Where the mom - ing glo - ries creep a - round the
^
:32Z
jtn
door. There's a lit - tie yel - ler girl - ie, she's wait - ing
I:
^
^
ii
^
there fo' me, She's been my lad - y love
year or
1
w
When we were lit
tie Pick - an
i
^
^
*:
long
go We of - ten played to - geth - er in the
^
S
sand. In the eve - ning when the sun was sink - ing
^
:t
^
low,
of - ten tell her while I held her hand:
My
m ^ ^-^
hon - ey, — I more than love you. Cast dem big eyes up - on me.
i:
^
^^
-Z5l-
Gim-me your Ut - tie brown hand. If you will be my miss - us,
i
k
i
-^-
^^
*
We'll live on po'k an' kiss-es. Hon - ey, does you love your man?
ADDITIONAL SONGS
439
Scale: Hexachordal, plagal. Tonal Center: d. Structure: aba^cdhH^b^tie^g
(2,2,2,2,2,2,2,1,2,2,2,2). Over-all form: aaibb^cci (4,4,4,3,4,4). In measures
14 and 15 there is an evident shortening of values with consequent shifting of
the melodic line. (Compare measure 11: "we often played together" with meas-
ures 14-15: "I often tell her, while . . . .") Thus the over-all structure is
shortened to 23 measures.
702
The Little Log Cabin in the Lane
'The Little Log Cabin in the Lane.' Sung by Bascom Lamar Lunsford, Turkey
Creek, Buncombe county. No date given. The singer stated that this was the
version his mother used to sing. Our melody is closely related to that of
'My Little German Home Across the Sea' as found in OFS iv 396, No.
870A. The statement of the editor of the latter volume that the "given text
is sung to the same familiar tune, except that the chorus is lacking," seems
strange indeed. Previously the same editor referred to this tune of 'The
Little Old Log Cabin' as written by Will S. Hays^ (cf. Ford 281), but from
the melody which he gives with the text quoted above, one would judge that
he either never saw the composed tune, or never took the trouble to compare
the latter with the tune which he affixed to his text. Neither has anything in
common with the other.
F-601
^
h
^
I am grow - ing old and fee - ble, And I can - not
^
?^
-* ^
work no more; I have laid the rust - y - blad - ed hoe to
m
rest.
My ole' mass - a and ole' miss - us
^
^
3a?
s
sleep-in' side by side And my friends are now all num-bered
i
3
:S^
^
¥
^
with the blest. My — old log cab - in in the lane, My
*
m
^
s
old log cab - in
the lane, And the on - ly
440
NORTH CAROLINA FOLKLORE
friend that's left me
that Ut - tie
dog
i
-A—
i£
^
tJ
In
cab
in the lane.
my lit - tie old log
For melodic relationship cf. ***CRS Kit S3, i6, first half of chorus is
diflFerent; OFS iv 306, No. 870 A, except chorus; OPS 11 220, No. 197 A;
**ASb 89; PSL 378, except chorus; BTFLS rv-v 78, no chorus, however;
*Ford 281; CS 187-9 (1938).
Scale: Hexachordal, plagal. Tonal Center: f. Structure: abacdeac (2,2,2,
2,2,2,2,2) = aa^ba2 (4,4,4,4) = Reprisenbar. In another, older recording by
the same singer, we find quite a different text, all of which, unfortunately,
cannot be understood:
I am growing old and feeble
And
And my work along the years is nearly done.
My old Massa has departed
And I soon will follow him.
All my friends and
one by one.
Chorus :
Oh, he said to me, goodbye,
You'll
I'll never see those good old times again,
And I think
That I fondly used to hear
In my little old Log Cabin in the Lane.
1 Morrison, Songs We Love, 1903, p. 299.
703
LuLA Falls
'Lula Falls.' Sung by Otis Kuykendall, Asheville, Buncombe county, July
18, 1939. Cf. OFS III loi. No. 383 ; the second stanza is very similar to
ours. Also JAFL lix 451.
F-602
i
&Z
i
i
-^
2nd The oth - er eve - ning just at dark, As I walked down
W
^-
^
^i^=^
-^
through the park, She was sit - ting in the hall — all a -
ADDITIONAL SONGS
441
i
XT
g^E^
lone
I bowed and tipped my hat, Then we both be -
-bHT 1
^
. K ...
/ b K
K
[
^^
^
' '
f\
S
■V
Tr\^^u
N
1
^
'
^
—
,
,
l>
\s)
^
J -
^
#•■
^
fJ
-#-
d
gan to chat, She's an ag - gra - vat - ing beau-ty , Lu - la
^
^
WaU.-
Ev - ery ht - tie while she greets me with a smile,
k:
^
She'll in - vite me to her hap - py home to call — If she'll
b f^
S
^^
*
^— ^^
:*
on - ly be my wife, I'll be hap - py all my life,
I
fe
4^
She's an ag - gra - vat - ing beau - ty, Lu - la Wall. —
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abcdefc^d^
(2,2,2,2,2,2,2,2) = abcbi (4,4,4,4).
704
LuLA Wall
'Lula Wall.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county. No date given. Cf. OFS iii loi, No. 383. Our version, however,
has no chorus.
F-603
i
Ps*=#
^
^
it
5
^
She's
a maid - en bright and fair, She has love - ly
i
ps
i=t
i
*
^ i -j^ -J' .;
gold - en hair,- She's as pret - ty as an an - gel from on
9
^
^
&
^
221
high. She has stole my heart a - way. She has left in
442
NORTH CAROLINA FOLKLORE
^
^^^^^^^^
■^
1
sad dis- may, She's an ag - gra - vat-ing beau-ty, Lu - la WaU.
Scale : Heptachordal, plagal. Tonal Center : e-flat. Structure : abaic (2,2,2,2)
= aai (4,4).
705
Many Miles Apart
'Many Miles Apart.' Sung by Miss Hattie McNeill, Ferguson, Wilkes coun-
ty. A subtitle is: 'We are Many Miles Apart.' The text was furnished by
S. M. Holton, Durham; no date. Compare our text with that of F-599 in
this volume. The second stanza of F-599 is identical with the first of this
version, and the text of the chorus is very similar. Likewise, the text of
F-588 is like that of the above mentioned versions. Our tune is indicated
as chorus, therefore it seems logical that the other two should likewise be
considered as such. The tune of the chorus will fit the text of the stanza.
Cf. also 'Lady Alice' for second stanza, II 131, No. 28, versions B, D, F, I, K.
F-604
Chorus
^
Sad, oh sad.
my
dar - ling
Oh, this
^^^=^
^
•■ines - sage breaks my heart: And be - fore this time to
^
^
^
mor - row, —
We'U be man - y miles a - part.
Scale : Heptachordal. Tonal Center : e-flat. Structure : abed (2,2,2,2) = ab
(4,4). The tonal center is the lowest tone.
1st stanza:
Take this little bunch of roses
That I gave you years ago.
I have kissed them dearly, darling;
Those I'll never kiss no more.
Chorus: (as in score above)
2nd stanza:
Oh, don't you see those mourning doves
Flying from pine to pine?
They are weeping for their true loves
Just like I do weep for mine.
ADDITIONAL SONGS
443
3rd Stanza:
When you hear those whip-poor-wills hollowing [s^ic'\
On some dark and lonesome sea;
When you are thinking of your darling,
Will you one time think of me?
4th stanza :
Oh, my darling, gone forever,
No more in this wide world to me,
For tonight he is with another ;
He no longer cares for me.
706
Maple on the Hill
'Maple on the Hill.' Sung by Bascom Lamar Lunsford, Turkey Creek,
Buncombe county. No date given. This song belongs to the group of songs
under the general title: 'Will You Love Me When I'm Old?' (F-271).
There is, however, no melodic relationship involved. For another text cf.
JAFL Lix 452.
F-605
?=?=
Come, lis - ten now, me dar - ling, lean your head up -
k=^=i=4
^
i
*:
on my breast, As we lis - ten
^
S
to the mur - mur of the
^S
■+^ H
rill. Will you al - ways love me dar-ling, as you did that
:t^
??=?c
^
m
^
star - ry night. As we sat be-neath the ma - pie on the hill.
Scale: Mode III, plagal. Tonal Center: a. Structure: nmm^ (4.2,2) =
inverted barform.
707
Mary, Weep No More for Me
'Mary, Weep No More for Me.' Sung by C. K. Tillett, Roanoke Island,
December 29, 1922. Another title given : 'Mary and Sandy' ; cf. FSRA 72.
The text was furnished by J. B. Midgett, of Wanchese, Roanoke Island. He
probably is the uncle of P. D. Midgett, Jr., a Trinity College student who
wrote F. C. Brown in 1920 from Wanchese that his father knew about
444
NORTH CAROLINA FOLKLORE
five hundred songs. Cf. BSO 201-2; FSF 137-9; also BTFLS vi-vii 35
and ibid, xvi-xvii 51.
F-606
-! ;: N ,
^
:t^
:^
-•-r-
The moon had climbed the high - est hill That ris
^
£
:£
ver the source so deep. And from its east - em sum-mit
—0-
ItS
shed
sil - ver
light
ver tow - er - ing
^
-A — I
trees. When Ma - ry laid her down to rest, Her thoughts on
5
Sand
far at sea, When soft and low a voice she
t
i
i
^
heard, Say - ing, Ma - ry, weep no more for me.
For melodic relationship cf. ***FSRA 72 ; observe, however, the change of
meter.
Scale : Mode III, plagal. Tonal Center : g. Structure : abcbabcb (2,2,2,2,2,2,2,2)
= abab (4,4,4,4). This represents two stanzas.
708
Molly Darling
'Molly Darling.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, 1921-22. For additional versions cf. Ford 330; FSoA 82; BSM 279-80;
other titles: 'Put Me in My Little Bed' and 'O, Birdie.'
F-607
^
:*
Won't you tell me, Moll - ie dar
b N-
ling, That you love none
:^
-s>-
J- ^ ^ — -^
-d?-
else but me?
For
I love you Moll - ie dar - ling,
ADDITIONAL SONGS
445
l^£^
^
You are all this world to me.
Moll - ie fair - est,
^
^^=F=#=
SE
:^z=^
22:
dear - est, Look up dar-ling, tell me this If you love me.
^
B
SE
-tS*-^
Moll - ie dar - ling, Let your an-swer be a kiss.
For melodic relationship cf. *FSoA 82, second and third measures only.
Scale : Heptachordal. Tonal Center : e-flat. Structure : abacdeac (2,2,2,-
2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar. The tonal center is the lowest
tone.
709
Molly Darling
'Molly Darling.' Sung by Mrs. G. L. Bostic, Mooresboro, Cleveland county,
September 7, 1939. This song, recorded about seventeen years after the
Jewell Robbins version, is nevertheless almost identical with it. There are,
however, two differences : the ending of the stanza and the lack of a chorus
in the later version. There is another text furnished by Miss Katherine Bernard
Jones from Raleigh, which can be sung to the Bostic tune. Since Ford 330
gives the second of this version as chorus, the whole would have to be sung
to the Robbins tune (F-607). The same title can be found in JAFL Lix
453- F-608
m
m
m
Won't you tell me, Moll - ie dar
ling
That you
m
^
love no one but me?
For
I love you Moll - y
S
I
?
dar - ling.
i
most frequently
*=*c
^
-^ — f
Qj. 1
7
or
(y ^ "^~
=^=^
— /^^ — -t^ — U
-d — #^*—
— •-=-
— N--— ^ — \ ^^ — r-
— 0 LI
446
NORTH CAROLINA FOLKLORE
Scale : Hexatonic (4) , plagal. Tonal Center : d. Structure : abac (2,2,2,2)
— aai (4,4).
710
My Hair Was Black as Ribbon
'My Hair Was Black as Ribbon.' Sung by Mrs. Minnie Lee, Alliance, Pamlico
county, 1927, and recorded with the co-operation of Julian P. Boyd. Not all
the words could be understood.
F-609
i
^^
±
t=^
i
My hair was black as rib - bon, My eyes were spark - ling
E
^
^
blue
J^ J^ J' i^
^^
s
Scale : Mode III, plagal. Tonal Center : c. Structure : abcdbc^ (2,2,4,2,2,4)
= abcb^ (4,4,4,4) ; the endings of a and c are alike.
711
My Pretty Quadroon
'My Pretty Quadroon.' Sung by Dr. I. G. Greer, Boone, Watauga county,
1921-22. There are two ms scores, besides the recording. For additional
texts cf, SMLJ 217; JAFL lix 454.
F-610
^-^^ J- J' I J'
A
i
Oh, who was as hap - py as I?-
She'd a brow like
=^^
MJ-3^^
^
■^
rir
the bios - som - ing pea And the light of her vi - o - let
->r— ^-
Ttr-r-r
s
blue-
eyes Nev - er shone on a dark - y like me.
ADDITIONAL SONGS
447
^
^
J
m
^
my pret - ty qua - droon,- The flow - er
d^
that fad - ed so soon, — This heart like the strings on my
^
ban
jo Am broke for my pret - ty qua - droon.
F- 632 cont.
i
^
1!^=45:
Chorus
2
-^— ^
m
:n— K-
-• — 0~
-i^^-i#
^
^
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abcdabcd (2,2,2,
2,2,2,2,2) = abab (4,4,4,4).
2nd stanza:
Her face was exceedingly fair.
She'd a cheek like the wild rose of June,
And the ringlets of her dark, glossy hair
Was the pride of my pretty quadroon.
712
Old and Gray
'Old and Gray.' ('When I am Old and Gray'). Sung by Dr. I. G. Greer,
Boone, Watauga county, in 191 5 or 1916. This also belongs to the "Will
You Love Me in December?" category.
F-611
! J J I J. ;-
'Tis thee and not the ros - es, dear, That I have learned to
J. ; J ^1 ^
i
love, Though now thine eyes are bright and clear, And gen - tie
448
NORTH CAROLINA FOLKLORE
J- ;■ J J
5
as a dove. Yet should thine eyes grow dim with age I'll
^
l£
^
tj
love thee all the way, For 'tis the head and not the
h— n-H N 1 A-
1^^-
heart That shall grow old and gray. And I shall love thee
I
and more As years shall pass
way.
We'U
^Ei
m
t=t
know each oth - er bet - ter, dear, When we are old and gray.
Scale : Hexachordal. Tonal Center : d. Structure : aaiba^bai (4,4,4,4,4,4) =
abb (8,8,8) ; the second half of b is the same as that of a. The whole is
based on inverted barform = nmrn^. The tonal center is the lowest tone.
713
The Old Stepstone
'The Old Stepstone.' Sung by Bascom Lamar Lunsford, Turkey Creek,
Buncombe county, 1921. The singer learned this song from Lila Ammons
of Robbinsville, Graham county, the fifteen-year-old daughter of the sheriff.
The song is also known as 'The Old Doorstep.' For additional version of.
the text and remarks in OFS iv 381. The fourth and second stanzas there
are combined in our version. This is made mandatory by our tune.
F-612
^
-#^ "
O 'tis sad to be part - ed from those that we love,
i
¥=^-
^
Strange fa - ces — we see ev - 'ry day. Each heart-string of
^^i^h^-i-i^^m
*:
w
mine is bro - ken in — time, When I think on those dear
ADDITIONAL SONGS
449
^
^
f^ N
ones at home. Good - bye, dear old step-stone, good - bye to my
^
^
w
home, God bless those I leave with
sigh,
I'll
5^P^
^
cher
ish fond mem - 'ries when I'm-
far
way
i
i=s:
i
^
1
^
To
wan - der o'er this wide
world
a - lone.
Scale : Hexachordal, plagal. Tonal Center : b-flat. Structure : abaicdea^c
(2,2,2,2,2,2,2,2) ^ aa^ba^ (4,4,4,4) = Reprisenbar. In the smaller subdivision,
c is somewhat related to a.
714
Over the Garden Wall
'Over the Garden Wall.' Sung by Mrs. Ewart Wilson, Pensacola, Yancey
county, September 1929. For additional texts cf. OFS iv 392, No. 867 ; JAFL
Lix 458; SFLQ IV 180-1. According to the information given in OFS iv,
this song was sung in England when Charles J. Finger was a boy.
F-613
^^
i
once stood un - der a
lac tree
O - ver the
t=t^
i
^?=i):
gar - den wall. She whis-pered and said she'd be true to me,
i
^
w
-<s»-=
O - ver the gar - den wall. She had beau - ti - ful eyes and
9
^
beau - ti - f ul hair; She was not ver - y tall, so she
450
NORTH CAROLINA FOLKLORE
m
s
5
1
stood on a chair And man - y a times I kissed her there.
O - ver the gar - den wall.
O
ver the gar - den
$
I t t I
wall, The pret - ti - est girl of all
nev - er shall for -
^
get how her kiss - es felt O - ver the gar - den waU.
Scale : Heptachordal. Tonal Center : c. Structure : abcded (4,4,4,4,4,4) ; e is
slightly related to b. The tonal center is the lowest tone.
715
Pretty Bessie
'Pretty Bessie.' Sung by Mrs. J. J. Miller, Lenoir, Caldwell county, in
1921 ; MS score, without words. In a note Frank C. Brown says: "Cf.
'Charlie and Bessie,' to see if this air will sing to it. No words yet, June 21,
1922." Our tune does not "sing to" the text quoted (cf. IV 148, No. 71B),
except with considerable changes. There is no record for this tune nor have
any words been found. For additional text cf. PMOT 159-160 i, title and
ending of stanza.
F-614
^^
'^=^
^
1
:?E=f:
ihrv-
1 N — s-^ — M--^^* ^H — f^i — f'^ — ^ — 1 1 —
1 1^ l^-T ^ ^ 1^ 1 ^ H \ 1
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (2,2,2,2) = ab
(4,4)-
ADDITIONALSONGS 45 1
716
Riding in a Sleigh
'Riding in a Sleigh.' Sung by G. L. Bostic, Mooresboro, Cleveland county,
August 7, 1939. Melodically, the chorus begins like 'Tramp, Tramp, Tramp,
the Boys are Marching.'
F-615
i
^
lEi3
And then she asked me how man - y bridg - es
i
i
?
On our jour-ney lay, And then I an-swered prompt-ly
i
i
^
p^
Rid- ing in a sleigh. Hitch her up, hold yourhors-es!
^
3^^^^
W^
-&-=-
Or they'll get a - way-
Oh, is - n't it pleas - ant to
i
±:
~^ *
kiss your sweet - heart Rid - ing in a sleigh?
For melodic relationship cf. **CRS Kit 53, 22 'Riding in a Sleigh.'
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab^cbab^ (2,2,2,
2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar.
2nd stanza :
Coming o'er the ridge,
I turned around and lightly kissed her
Coming o'er the bridge.
3rd stanza:
On a certain
I'll not name the day.
We'll have a preacher with us
Riding in a sleigh.
717
Rosalie, the Prairie Flower
'Rosalie, the Prairie Flower.' Sung by Mrs. Alice Cooke, Boone, Watauga
county. No date given. Frank C. Brown notes : "Published 50 years ago
452
NORTH CAROLINA FOLKLORE
in sheet music form." Actually, this song by Wurzel (Geo. F. Root) was
published by Nathan Richardson at Boston, in 1855. C£. EASM 150. For
this title cf. JAFL lix 461. Only a few words could be understood in such
a poor recording.
F-616
'4=^
^^
^=^
O'er the dis - tant prai - rie
«7
^ J J — J-
rrrp
^-tv— 1^
i^^^^
i
i£
Fair as the li - ly
X^ ;JJ^
-N— P
_^_^
Ev - 'ry one who knew her
^
^
^
As Ros - a - lie the Prai - rie Flow'r.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : aba^cdea^c (2,2,2,
2,2,2,2,2) = aa^bai (4,4,4,4) = Reprisenbar.
718
Sadie Ray
'Sadie Ray.' Sung by Miss Eula Fletcher, Mabel, Watauga county,
7, 1922. MS score. The text, which is almost identical with the
version, was furnished August 17. For other versions cf. OFS
JAFL LIX 462.
August
Midgett
IV 282;
F-617
:r
^£
^
'Neath the cool
and shad
wood - land Where the
rip - pling stream-lets flow, Dwelt a maid - en kind and
^
3
love - ly,
It
the long
go.
ADDITIONAL SONGS
453
Scale: Mode III, plagal. Tonal Center: g. Structure: abab^ (2,2,2,2) = aa^
(4.4).
719
Sadie Ray
'Sadie Ray.' Sung by C. K. Tillett, Roanoke Island, December 29, 1922. Mid-
gett text. For another version with almost identical text but not tune cf. OFS
IV 282.
F-618
^
^?=^
^
In the cool and shad - y wood - land Where the rip - pling
i
m
w
s
^^
stream - lets flow, Dwelled a maid - en
fair — and
m
N — »:■
i
^
love - ly, It was in the long — a - go. '
Scale: Mode III. Tonal Center: b-flat. Structure: abab^ (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
720
Seven Long Years
'Seven Long Years.' Anonymous singer. This melody was found on the back
of a MS score containing a pencil copy of 'Sally Ann.' The words "Seven Long
Years" at the beginning of the third phrase gave the only indication as to the
nature of the song. The identical tune, also by an anonymous singer, is the
ballad 'Young Edwin in the Lowland, Low' (IV 153, No. 79). The only
difference is that the latter begins with the additional phrase "Seven Long
Years." The ballad tune skips from there to the last four measures of our
present melody; the second stanza, however, begins with just this omitted
phrase.
^f^=f^
1 1 1 1 1 :
1 1
_ 1 ^
F-619
g) 4 ^
-M ^ J S_
'^ J /^
H ^J 1I
^ al •—J
^-t:^. ^^
-P \ 1 , f-n . ,_ ,
^) ^ ^ • * — y-^ — \ J — ^ j^' * . J — 1 — J-^
454
NORTH CAROLINA FOLKLORE
i£
Sev - en long years
3
J J J-J-
=^=f
i
i
^
=ir
=t:
W
^
z^— •-
Scale: Mode IV. Tonal Center: d. Structure: aa^baia^ (4,4,4,4,4), basically
a Reprisenbar plus coda; The latter is actually a mere repetition of the
preceding four measures. Excepting the third phrase, every other cadences
on II.
721
Sparking on a Sunday Night
'Sparking on a Sunday Night.' Sung by Mrs. Alice Cooke, Boone, Watauga
county, 1922. MS score and record. No more text available. For additional
texts cf. OFS III 228, No. 468- Ford 296; JAFL lix 465.
F-620
i
j. ;iJ J
i=it
m
-^ IV
^
:i=^
:£
Sit - ting in the cor - ner spark-ing on a Sun - day
^
-251-
^_ ^ ^ = ^ , ^
( eve With her ta - pered fin - gers rest - ing on my sleeve.
i
J. Jij-^^
3
tf — #-
up - on me so bright Oh,
.#=
—1 , r-i 1^
\ N fs i 1 —
^t^
—J J— J ^ ^^
^■^J' ^' J J^tL
bless me ain't it pleas-ant spark - ing on a Sun-day night.
J J IJ J
i
A — ^-
-• — • #
Spark-ing, spark - ing, spark - ing spark-ing on a Sun-day night,
ADDITIONAL SONGS
455
3
gg^
3
Oh, bless me ain't it pleas - ant, spark-ing on a Sun-day night?
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aba^b''a-b2
(4,4,4,4,4,4).
722
Standing by the Old Cabin Door
'Standing by the Old Cabin Door.' Male singer with banjo accompaniment. No
place or date given. The only words that could be understood are those of
the title; they conclude the song. For other versions cf. FSoA 32 ('Rosalee'),
last line only; RAS 111-12; FSUSA 210-11, stanzas 3 and 8.
F-621
w
s
E^
E^
i
^
^
m
m:
^B2
-^
i^
^ee£
m
:2:
2=^
1
door.
Stand-ing by the old ca - bin
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: ah (4,4"). Tt
should be noted that the melodic line of b is very closely related to that of
a. The diflference lies in the rhythmical formation of both.
723
Standing by the Old Garden Gate
'Standing by the Old Garden Gate.' Sung by Miss Arlie Jonas, Ready
Branch, Wilkes county, 1921. The ms score contained no text. As there
was, however, also a recording, it was possible to glean at least the words
given in the score below. No more could be gotten. For additional text cf.
OFS IV 324-6 ; the words of the chorus are similar.
F-622
j}. j- j" J ns-j—<L-j I i. /
^^
S' d
#
^^=^
456
NORTH CAROLINA FOLKLORE
^^
I've loved you al - ways,
#p=
-j^ — H
^
=?=^
^
=t=
=1^
-^^ —
^^
— #-=-
-J^J—
— i— —
— •-=-
t^ 1
•
• •
yes, I've been true, My heart has al - ways longed just for you
^
sweet - heart, be - lieve me
far
cross the sea
#
^^
I
In Ufe
in death, love, faith - ful I'll be.
Scale: Heptachordal. Tonal Center: d. Structure: abacddieei (2,2,2,
2,2,2,2,2) = aa^bc (4,4,4,4) ; (e is somewhat related to d). Over-all form:
mm^no = barform plus coda.
724
The Stars Shine Bright
'The Stars Shine Bright.' Sung by Mrs. Ewart Wilson, Pensacola, Yancey
county, 1929. For additional version with similar stanza and almost identical
chorus cf. OFS iv 216-17.
F-623
W^
s
^
The stars shine bright And the moon gives her light. And the
3
IE
w
eve - ning in - vites me to stay. In vain do I sigh for the
W
^
bride-groom I've lost. For I'm here and I can't a - way.
-K— #-
^
-^- ^
Oh, there's some - bod - y wait - ing, wait - ing, Some - bod - y
ADDITIONAL SONGS
i
-0-r
^^^
457
wait - ing, wait - ing, Some - bod - y wait - ing for me,
i
P=^
S
S
-N—
TlHr^
Oh, there's some - bod - y wait - ing, wait - ing. Some - bod - y
i
w
^^^^^^iEE$^
^
wait - ing, wait - ing. Some - bod - y wait - ing for me.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: ababiabZab^
(2,2,2,2,2,2,2,2) = aaia2a3 (4,4,4,4).
725
Sunny Tennessee
'Sunny Tennessee.' Sung by Bascom Lamar Lunsford, Turkey Creek, Bun-
combe county. No date given, but probably 1921. Frank C. Brown says • "In
Print." Cf. OFS iv 2,2,2, also JAFL lix 466.
F-624
I 9 . . /TV
Brf-N
l¥=^
:t
S
^
i
On a morn-ing bright and clear To my old home I drew near,
^^=^-h-^
just
— ^
^ V.
vil - lage down in Sun - ny Ten - nes - see.
i
speed - ing on
i
^^
a train That would bring me back a - gain
==— N sr-
:^
^ J- V v
To my old home that was wait - ing there for me.
I could
9
hear the dark - ies sing - ing As she said fare - well to me
^
W^.
i
-#-=-
Far
a - cross the fields of cot - ton-
My
4S8
NORTH CAROLINA FOLKLORE
i
S
dear old home I could see, Where the moon rose in
its
^^
glo - ry, There I told my sweet - est sto - ry To
i
=??
— w-
the
^
lit
^=^
^
^
love
girl
in Sun - ny Ten - nes - see.
For melodic relationship cf. ***OFS iv 332, the first halves of the stanzas
are almost identical and the second half of our stanza is identical with the
chorus of the quoted version.
Scale: Heptachordal, plagal. Tonal Center: f.
(2,2,2,2,2,2,2,2) = aaibb^ (4,4,4,4).
Structure : abaib^cdcib^
726
Sweet Bunch of Daisies
'Sweet Bunch of Daisies.' Sung by the late Mrs. I. G. Greer, Vilas, Watauga
county. MS score and record, 1921-22. The text was furnished by Miss
Annie Smith; a note in handwriting of Thos. Smith: "popular here fifteen
years ago." Dr. White says : "Same as 'Sweet William.' " for another version
ct. J A PL Lix 466.
i
tt
F-625
£
^
Sweet bunch of dai - sies, Oh, how dear to me.
^
^J=^^
Oft -
I hear them Whis - p'ring love of thee.
-^
-%^
Mur - mur - ing soft - ly
In
si - lent theme
i
Of love's bright mom - ing, Now one sad, sweet dream.
ADDITIONAL SONGS
H N r
459
^^#^
^
=|t
Sweet bunch of dai - sies, Brought from the dell; Kiss me one,
tt
n
tj ; J' }
1^^^
dar - ling Dai - sies won't tell. Give me your prom - ise
i^
-?5H
I
Oh- sweet-heart do Dar - ling, I love you Won't you be true?
Scale: Heptachordal, plagal. Tonal Center: a. Structure: aba^cabaic (2,2,2,
2,2,2,2,2) = aaiaai (4,4,4,4), In the smaller subdivision, the beginning of b
is the same as that of a.
727
Sweet Forget-Me-Not
'Sweet Forget-Me-Not.' Sung by Dr. I. G. Greer, Boone, Watauga county,
1915-16. MS score. The whole song seems to be somewhat hazy rem-
iniscing on old favorites like "Little Annie Rooney,' 'In the Good Old
Summertime,' and 'Let Me Call You Sweetheart.' For another version
(Negro text) with the same title but different text cf. JAFL xxiv 287.
F-626
m
^^^
:;F=^
^P=S=r-
^
t
0 ^
^
Oh, fan - cy brings a thought to me,
^m
^
A flow - er
rich and rare— Of grace and beau - ty these com-bined, A
i
i^^
~t
s
t
s
^
fade-less flow - er rare- So like a maid - en that I k
new,
It was my hap - py lot She dropped a flow - er, I
■ J w^ — ^ '
^i--
picked it up, A Sweet For-get - me Dot. Grace -tul and as
460
NORTH CAROLINA FOLKLORE
;t=r
^
^^
:^
charm -ing as The li - lies of the pond,- For time doth
i==i:
glide so swift - ly by While with her I'm so fond. — The
'b , I r-^^ \ ^n \-
S
ros - es and the vio - lets, too, They clus - ter round the spot.
i
fc
^
i
When we part - ed and she whis-pered 'Oh, you'll for - get me not.' —
Scale: Hexachordal, plagal. Tonal Center: b-flat. Structure: (one strophe
only) abacabde (2,2,2,2,2,2,2,2) = aa^ab (4,4,4,4).
728
Sweet Long Ago
'Sweet Long Ago.' Sung by Miss Jewell Robbins, Pekin, Montgomery coim-
ty, 1921. For another version cf. JAFL lix 466 (text and title).
F-627
:±z±
There's
mys
tic
gold
shore Where the
I
surg - es
er - more Break in mu - sic
the
^
strand soft and low.-
I can hear the cease - less
hymn, I can see the head-land dim Of the gold
i
=^-=^
shores of sweet long a - go-
Long a
go,
ADDITIONAL SONGS
461
sweet long a
go-
On the gold - en shores of
^
sweet long a - go.-
Long A - go, sweet long a - go. —
^i
^
^
-* 9
On the gold - en shores of sweet long a - go.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: abab^cbcbl
(4,4,4,4,4,4,4,4) = aa^bbi (8,8,8,8).
729
Singing in the Lane
'Singing in the Lane.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, 1921-24. The singer obtained this version from her English grand-
mother, Mrs. Belinda Horton, born in Moore county, of English parents.
The beginning of the melody is similar to that of 'Should Old Acquaintance
Be Forgot.' Cf. also ASb 114-5 ('Rosie Nell'), also F-582 'Childhood
Days' ('Sweet Nell').
F-628
i
=ST
^-
l^
5=
=^^
4:^
The boys and girls I used to know went fish - ing in the brooks.
fct
With spools of thread for fish - ing lines And bend - ed pins for
I
*Sfe3
b I jg
-«s>-
hooks.
Swing -ing in the lane, Swing-ing in the lane, I
=t
m
nev - er, nev - er shall for - get The swing - ing in the lano.
For melodic relationship cf. **OFS rv 397 (except chorus).
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abcdbecd (2,2,2,
2,2,2,2,2) = abed (4,4,4,4). In the smaller subdivision the e is somewhat
related to c. In the over-all form, the beginning of c is like the ending of a.
462
NORTH CAROLINA FOLKLORE
Surely I Can Do
No title. Anonymous male singer with banjo accompaniment. No place or
date given. Only a fraction of the text could be understood. Cf. here, how-
ever, FSoA 154, second stanza.
F-629
W
^m
-ji — •-
I
An - y a - mount
Stanza 2
Sure - ly I can do.
gi^=^#=J=.t^=#^=^n=T
-<s>- -^
fine. C!ourt - in',
^^=^
^
court - in', court - in',
^
i
IS mine.
Scale: Heptachordal. Tonal Center: b-flat. Structure: abed (2,2,2,2) = ab
(4,4). The tonal center is the lowest tone.
731
Hole in the Bucket
'Hole in the Bucket.' Sung by Claire Burleson and Joe Powles, Crossnore,
Avery county, August 8, 1940. For international relations refer to the re-
marks in PSL 83 and 266; VTWL 48, No. 82 'Wenn das Pott aber nun en
Loch hat?'
F-630
Slow
i
M
^^^
There's a hole in the buck - et
zah,
~* —
E-
li - zah, There's a
T"
hole in
Faster
— r
the
buck - et,
E.
^
?
li - zah, there's a hole. Then mend it, dear Georg - ie, dear
ADDITIONAL SONGS
463
¥^F^-
Georg - ie, dear Georg - ie, Then — mend it, dear
i
^
^
m
Georg; - ie, dear Georg - ie, mend the hole.
Scale: Mode HI, plagal. Tonal Center: g. Structure: aa^aa^ (4,4,4,4).
Every phrase cadences on I.
2nd stanza:
With what shall I mend it, Eliza, Eliza?
With what shall I mend it, Eliza, with what?
(answer)
With a straw, then, dear Georgie, dear Georgie, dear Georgie,
With a straw, then, dear Georgie, dear Georgie, with a straw.
3rd stanza:
If the straw be too long, Eliza, Eliza,
If the straw be too long, Eliza, then what?
Then cut it, dear Georgie, dear Georgie, dear Georgie,
Then cut it, dear Georgie, dear Georgie, cut the straw.
4th stanza:
With what shall I cut it, Eliza, Eliza?
With what shall I cut it, Eliza, with what?
With a knife then, dear Georgie, dear Georgie, dear Georgie,
With a knife then, dear Georgie, dear Georgie, with a knife.
5th stanza:
If the knife be too dull, Eliza, Eliza?
If the knife be too dull, Eliza, then what?
Whet the knife then, dear Georgie, dear Georgie, dear Georgie,
Whet the knife then, dear Georgie, dear Georgie, whet the knife.
6th stanza:
With what shall I whet it, Eliza, Eliza?
With what shall I whet it, Eliza, with what?
With a stone then, dear Georgfie, dear Georgie, dear Georgie,
With a stone then, dear Georgie, dear Georgie, with a stone.
7th stanza:
If the stone be too rough, Eliza, Eliza ?
If the stone be too rough, Eliza, then what?
Then smooth it, dear Georgie, dear Georgie, dear Georgie,
Then smooth it, dear Georgie, dear Georgie, smooth the stone.
8th stanza :
With what shall I smooth it, Eliza, Eliza?
With what shall I smooth it, Eliza, with what?
With water, dear Georgie, dear Georgie, dear Georgie,
With water, dear Georgie, dear Georgie, with water.
464
NORTH CAROLINA FOLKLORE
9th stanza:
In what shall I fetch it Eliza, Eliza?
In what shall I fetch it, Eliza, in what?
In a bucket, dear Georgie, dear Georgie, dear Georgia,
In a bucket, dear Georgie, dear Georgie, in a bucket.
loth stanza:
There's a hole in the bucket, Eliza, Eliza,
There's a hole in the bucket, Eliza, there's a hole.
732
Hop Along
'Hop Along.' Sung by Blake B. Harrison, Trinity College, Durham, in
1919. (Negro fragment.) Cf. ANFS 134, No. 7. Our song is a parody of the
church song: 'You Must Be A Lover of the Lord, If You Want to Go to
Heaven, When You Die.'
F-631
:a=P
^
i^
You'll have to be the lev - er of an un - der - tak - er'a
S
^
daugh - ter If you want to get a cof - fin when you
I Ml I
^
i
die. — • Hop a - long, sis - ter Mol - ly, hop a - long, hop a
^
I
-*-
long, Hop a - long, sis - ter Mol - ly, hop a - long.
Scale: Pentachordal, plagal. Tonal Center: g. Structure: aba^b (2,2,2,2)
= aai (4,4).
733
I Don't Let the Girls Worry My Mind
'I Don't Let the Girls Worry My Mind.' Sung by H. J. Beaker, Boone,
Watauga county, August 1939, 1940, or 1941.
#.
— 1
— h. — p>^
—J — s
—(5>
f —
F-632
^M=?^
-i^
— J—
Li
[
Lit - tie fish
the
er, — big fish
ADDITIONAL SONGS
465
^^m
-^
swim in the sea, But there ain't no use for the
i
3^i£
girls wor - ry - ing me. Nev - er was ar - rest - ed,
^— # . 0 ^
:^
paid
fine-
'Cause
don't let the
I^
girls wor - ry my mind.
You take this -
is:
you take that, And I'll take all I can get,
^
3
Stand - ing out in the rain, But I don't ev - er get
^^^-^
— 1—
— V—
=j=^^
— ^'- — ^-p — p p —
— f—
p —
^=^
-J — * — i—
/— &
=4=
-4—
'
wet. I don't want your whisk - ey, And I don't drink your
^^\r-r^
jT i>- j-
3
wine, 'Cause I don't let the girls wor - ry my mind.
Scale : Heptachordal, plagal. Tonal Center : g. Structure : abcab^cded'^e'^aib^c
(2,2,4,2,2,4,2,2,2,2,2,2,4) = abaibccia^b (4,4,4,4,4,4,4,4) = aa^ba^ (8,8,8,8) =
Reprisenbar.
734
Snuff Box
'Snuff Box.' Sung by Miss Beulah Miller. No place or date given. The
original recording was made by Dr. Amos Abrams. For another text of.
JAFL III 290. Still another text, sung to this editor in person by Mrs. James
York of Mocksville, Davie county, June 17, 1956, which she learned from her
father, John P. Weatherman of Davie county, is given below.
466
NORTH CAROLINA FOLKLORE
F-633
^
m
^
I'm
al - ways put - ting pep - per in my dad - dy's
:t
snuff box And it
sight for to see.
He
i
-t^-^-^
s
coughs and he sneez - es and I thought he'd take a fit,
i
m
Moth - er swore that's what was al - ways tick - el - ing me.
R / 1 i- ;■ ^
Tick - el - ing
me,
tick - el - ing me, Moth - er
I
r=i^
^
swore that's what was al - ways tick - el - ing me.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abacddc^ (2,2,2,
2,1,1,2) = aa^b (4,4,4) = mmin = barform. The ending of n is like
that of ml ; by itself, it is a miniature barform.
I've been tickled by a wasp,
I've been tickled by a yellow bee.
The way he cut a shine
It was a sight to see.
Well, he coughed and he sneezed
And I thought he'd have a fit.
Then he took me out and then he tickled me.
735
Behind Those Walls of Gray
'Behind Those Walls of Gray.' Sung by W. and Clarence Greene. No place
or date given. Recorded by Dr. Amos Abrams through whose courtesy we
are able to offer some of these songs. This song is a good example for the
powerful influence of the leading tone.
ADDITIONAL SONGS
467
F-634
F=v
BE
^H—^^
* — ^
He's locked up in pris - on for
crime, He's
^
^
locked up in pris
to serve out his time. He's
i
m
5
^
5
^st — *—
some - bod - y's ba - by, He's some - dad - dy's son, Oh
1
?
-^ ^ 0
please don't mis - treat him for what he has done.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abab (2,2,2,2)
= aa (4,4).
736
Rainbow Division
No title. Tentatively : 'Rainbow Division.' Anonymous male singer with banjo
accompaniment. No place or date given. This song is added as an example of
a newer creation in balladry. There is no text except what could be got from
the recording. Judging from the text alone, there is no chorus; judging from
the tune, however (compare the cadences), there is a chorus. The song
begins (the real beginning is missing) with the last four measures of what,
musically considered, would be the chorus. But the words are of anything
but chorus character. The melodic relationship with our tune 'I'll Be All
Smiles Tonight' (F-590) is evident. This is just another case where an
old, remembered melody serves for a new song. The song of sixteen meas-
ures is actually a compound of slight variations of the first four measures.
The cadences are the cause for the most obvious changes.
F-63S
^
2-4 FS
p
I*
-? — r^
~5~~
p~
TV 9
0
»_
i>-4— •
'And
I'm
P
one
I? — ^
a - mong
the
—4~
dy
1=
- ing,
A
0 1
y • 1
r 1
P
IS ^~
fy— J — * — r-
-^ — i
^-^-
— ^
— 0-^ — s —
—J
youth, not yet
0
a man,
— •- — 0—
from the
old
— #-
rain
-bow
di - vi -
sion,
y \ \
r^
^
s
N ■
/t K N
J , 1 K' 1
0 0 •
W
m — #^ — ^
w 9 •
— ^ — i-' —
-s—
~J —
-b 1-; —
v,
Ti
And a boy from Dix - ie - land.' His broth - er knelt be-
NORTH CAROLINA FOLKLORE
i
^^
side him to hear what he might say, He hung his head in
pit - y,-
as his life - blood ebbed
way.
The
U!^
^
t-
:±
dy - ing boy looked up, And he whis - pered,' Broth - er Jack,
^ N N i^ V I N I
t
i
Give this mes - sage to moth - er,-
P ^ 0 1
^r-y— ^
-9-
If you ev - er get back.
: N \
Oh, Jack,
As he clasped his broth-er's hand, He
i
of - fered to hear the mes - sage to take to Dix - ie - land.
Chorus 5-8
:f5:
^
The sun was slow - ly sink - ing, It soon will be shut down.
^
ifc:
i
And night was soon to hud-dle o'er a blood - y bat - tie ground.
Chorus also: ^
r 0 f
±:
^
^
Stanza i
ADDITIONAL SONGS
1-3
469
• ^-
&^^E^E^
-V V-
i
'T'^iiig:
W
i
-»;— f-
-^ N-^
^
-& 1
A—-
t-^ J. j H
Scale: Hexatonic (4), plagal. Tonal Center: c. Structure: aba^b^a-b^a'^b^
(2,2,2,2,2,2,2,2) = aa'a^a'^ (4,4,4,4).
7Z7
When I Am Far Away
'When I Am Far Away Somewhere in France.' Sung by Mrs. B. M. Moody,
Shull's Mills, Watauga county, 1921. For another version cf. OFS iii 310-11.
This song, too, is a mixture of remembered fragments of other tunes. The
first measure with up-beat as well as measure 8 curiously have the same
melodic turn as measures 6 and 8 in the German folksong 'Muss I denn, muss
I denn zum Stadtele 'naus.' Measure 3 occurs also in 'There is a Tavern in
the Town' and measures 7-8, as a melodic line, derive from 'There's No Place
Like Home.' The leading tone, in this song, occurs but once, and then only
as what is known as "passing tone."
F-636
s — ^--^-
/I J. ;/
i
N N
-J? 1 N
^^^
m
■A-+r
:3:
-^>=T^^rj:tmm
I
^? — ^^
:4^
Scale: Heptachordal. Tonal Center: e-flat. Structure: abcdea (2,2,2,3,1,2)
= abc (4,5,3), a rather unusual structure. The tonal center is the lowest
tone.
738
COONSHINE
'Coonshine, Ladies, Coonshine.' Sung by Thomas Litaker, Trinity College,
Durham, December 5, 1919, MS score and record. For another tune, but
identical text cf. ANFS 181.
470
NORTH CAROLINA FOLKLORE
F-637
^
t
^
-<S-^
y Coon - shine, la - dies, coon - shine. Coon-shine on the floor.
t
^lEE^^EEEEt-
^
1 O, my pa don't 'low me
to
coon - shine And my
j- J ;-^
ma don't 'low me
to
try.-
Git
up
in the
^
I
-(S>~^
de
sly.
mom - ing 'fore day, Coon - shine on
Scale: Tetratonic (4). Tonal Center: g. Structure: abcbicib2 (2,2,2,2,2,2)
= abb (4,4,4) = nmmi = inverted barform. The epode partakes of the
ending of m and m^. The tonal center is the lowest tone.
739
Dis Morning
'Dis Morning.' Sung by Walter J. Miller, Trinity College, Durham, December
5, 1919. (Negro fragment). "Heard at a minstrel show a few years ago." Cf.
also ANFS 222.
F-638
: I ; ;-
i
,i5=iv
:^=d
Dis
gets
up
and puts on
i
my Sun - day clothes, — And down de street I
goes.
i
meets old Broth - er Mose; He hits me on my nose, And
*
^^^^$S^
down I
goes,
And dat's all
knows.
ADDITIONAL SONGS
471
Scale: Irrational (2,4), plagal. Tonal Center: b-flat. Structure: abbe (4,4,4.2)
:= nmmo = inverted barform plus coda. Every phrase cadences on I. The
tonal center is the highest tone. Circular tune (V).
740
Down at Widow Johnson's
'Down at Widow Johnson's.' Sung by Bascom Lamar Lunsford, Turkey
Creek, Buncombe county, 1902. The singer learned this tune from Lula Black
in 1902 while teaching school at Dogget's Gap, between Buncombe and
Madison counties. In order to get a better recording, the singer repeated the
song for this editor while he was visiting Chapel Hill in 1945. In his per-
formance it was interesting to observe the influence of the more recent jazzy
rhythm on such a veteran mountaineer (measures 2 and 15).
F-639
^
^
Down at wid - ow John-son's the oth - er
night —
?t=i:
S
Did a lit - tie court - in' out of sight. Down on my knees my
=1=
love I was tell - ing, My old girl on the out - side
9
fe^EEi
-^— •-
yell-
n
ing
'You
5
can't
fool
me Char - lie,
You can'
t
fo
ol
me
—\J
•
0
*
P M *
(^
!^
/ 1*
fj
1 r 1
1* f
fS .
l(\ 1 1
ll
I' u u
^
9
V- ; 1
'
1/ 1/
z,
tJ
'
Char - lie, You've tried ev - 'ry man - ner for to fool your
^
I
3^
lit - tie Han-nah, Mm. You can't fool me, but you can.'
Scale : Hexachordal, plagal. Tonal Center : g. Structure : abb^a^ccde (2,2,2,
2,2,2,2,2). It is easy to see the compound structure built upon the principle
of inverted barforms plus strophe. Over-all form, however (ignoring the
rhyme scheme of the text) = abed (4,4,4,4) ; b is somewhat related to a.
The heterogeneous elements of this tune are held together by repetitions of
some parts, as well as similarities of some of the material used. This ad-
ditive principle is familiar from the period of motets and madrigals, as well
as the later Classic period, for example, the operatic arias of Mozart.
472
NORTH CAROLINA FOLKLORE
GwiNE 'Round Dis Mountain
'Gwine 'Round Dis Mountain.' (Cotton Picking Song.) Sung by Miss
Jewell Robbins, Pekin, Montgomery county, 1921-24. For other versions cf.
WaS 45; FSoA 115. As only one stanza was recorded, it is impossible to say
how the second stanza could be sung to this tune.
F-640
i
w^
^
75* »"
Gwine 'round dis moun - tain, To Geor - gia I'm
a gwine.
i
^
^=^
Set - tin' by that pret - ty lit - tie gal Broke dis heart o'
i£
— z? —
mine.
Car - 'lin - a gal can't you 'mem-ber me
? —
Fal dal
n (-.
\
,
,
K
s
y 1
K
V
1 ; • "1
y J
J
1
^
^
Tr\ • -1 • ^
■ sJ
cJ
9
•
* 1
y^j
^
^
^^
1
tJ
^^
did - die did - die dey. Some day, some day you'll re •
i
n
w
mem - ber me.
Fal dal did - die did - die dey.-
Scale : Hexachordal, plagal. Tonal Center: g. Structure: abacded^e^ (2,2,2,
2,2,2,3,3) = aa^bb^ (4,4,4,6). In the smaller subdivision, d^ is not only
considerably modified but also initially incremented ; likewise of course, b^
in the over-all form. The same holds true of e^ and b^, with the difference
that instead of initial there is terminal increment.
2nd stanza:
Goner hew dis mountain down, my love.
Goner hew dis mountain down,
Goner hew dis mountain down, my love,
'Fore the sun goes down.
Work all day
And git no pay,
Fal-dal-diddle-diddle-dey.
742
Hikin' Down de Main Line
'Hikin' Down de Main Line.' Sung by Thomas Litaker, Trinity College,
Durham, 1919. The singer learned this from a Negro on his father's place in
Cabarrus county. For similar texts cf. ANFS 298, and F-648.
3^
ADDITIONAL SONGS
473
F-64I
^
3=E^:
Hi
kin' down the main line, Gas - o - line
^
^^^^
ffi
bum - er don't stop here,
don't
stop
here.
Scale: Tetratonic (4). Tonal Center: g. Structure: abc (2,2,2); c is
augmentation of the last measure of b. Every phrase cadences on I. The
tonal center is the lowest tone.
743
Honey Babe
'Honey Babe.' Sung by Miss Hattie McNeill, Ferguson, Wilkes county,
1922. The MS score has no text and the typewritten sheet statins:: "Words
and air by Miss Hattie McNeill" also has a note by Newman I. White saying:
"But the words are missing." Cf., however, NWS 145, 'Honey Baby' from
which our text was derived; also JAFL lix 440; and for a different text,
Mellows 180-3.
F-642
^m
If I could lay my head on yo' sweet breas', — Hon - ey
i
¥
i
j\ —
ba - by,
3
could fin'
Sweet res', I could
^
i
Cm' sweet res',
Scale : Mode HI, plagal.
fairly unusual structure.
Hon - ey babe, I could fin' sweet res'.
Tonal Center: f. Structure: abb^c (4,4,3,3), a
744
How I Love Them Pretty Yellow Gals
'How I Love Them Pretty Yellow Gals.' Anonymous singer. No place or
date given on ms score. Negro fragment. Certainly minstrel in origin,
probably more modern.
474
NORTH CAROLINA FOLKLORE
F-643
^ ^ ^
How
love them pret - ty yal - ler gals One named
^i
^
3^
^
Beck - y and the oth - er named Sal. Soon there'll be
^
wed - ding in the cot - tage o - ver yon - der, And
t
m
^m
-J^-: ^ • IT
I'll be hap - py ev - er - more. Soon there'll be great
k
t
i
^
In
the kit - chen on the floor.
times in danc - ing
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aa^bcde (2,2,2,
2,2,2) = abc (4,4,4). In the smaller subdivision e is somewhat related to
c; therefore, in the over-all form the ending of c is related to that of b.
745
Hump-back Mule
'Hump-back Mule.' Sung by Bonnie Wiseman, Upper Hinson's Creek, Avery
county, August 26, 1939. For the beginning of the first stanza cf. Ill 500-1,
No. 415D and E. For the last line, ibid. 353-4. No. 298. The tune of the
stanza is almost identical with the melodic line of F-386. For another text cf.
NWS 179-
F-644
2:
2:
my
5
If I had a pret - ty lit - tie wife, Tell you what I'd
tr-
^^
^
do, I'd send her off to the bar - room house And pad -die
is:
ig r f.
Rid - ing on a hump - back
ADDITIONAL SONGS
475
hump-back mule, And the on - ly
i
1
m
song that I can sing la 'Ride that hump - back mule.'
For melodic relationship cf. *TNFS i86, endings of both stanzas and
choruses.
Scale: Irrational (2,3), plagal. Tonal Center: c. Structure: aba^b^ (4,4,4,4).
The tonal center is the highest tone.
746
I'm Going Down the Mobile Line
'I'm Going Down the Mobile Line.' Anonymous singer, with banjo ac-
companiment. No place or date given.
F-64S
m
? r
^
» P. 0
:Z^^-^.
V ^ 'j-
^^1
I'm go - ing down the Mo - bile-
rrfv
Une.
I'm go - ing
g)— X • 4
^?
down the Mo - bile line, I'm go - ing down the line to
iS-
I
• see that girl of mine, I'm goin' down the Mo - bile
1
line.
Scale : Hexachordal, plagal. Tonal Center : a. Structure : abb^c (2,2,2,2) ;
a is somewhat related to b.
747
I'm Going Home
'I'm Going Home.' Anonymous singer with banjo accompaniment. No place
or date given. Owing to more than ordinary poor diction and the noisy banjo
476
NORTH CAROLINA FOLKLORE
accompaniment, it is not possible to get more of the text. The incredible
enthusiasm with which the singer intones 'I'm Going Home' is absolutely
contagious. The freedom of treatment with regard to the holds (which are
very long), and the abandon exhibited by the banjoist (probably the same
person), give this song, in performance, a rhapsodic character. Cf. here
SS 84, which has different text; also Guy B. Johnson's Tracking Down a
Negro Legend, 1929, 74-5, and 105. The chorus with up-beat is really a
free fantasy based on the general melodic outline of measures 5-10 of the
stanza.
F-646
r^:
«?
Two long years have I been a - driv - ,in'
3EeS^
:?f=-N-
^^-ir-^-
-^
^^
-^ It V.
:^=4
-^— =-;§L
^
^-^-
N 0 '-• — r^: r — ^— ^, — ^
I'll hang my
^
*
-N— -
r^^=j^
(g .
^^
ham - mer up - on the wall. I'm a - go - in'
-5s — ,
Idt
t=t-
^=^=^
home-
I'm a - go
in' home.
I'm a - go - in'
m
w.
^
i
home, I'm a - go - in' home-
Lord, I'm gon - na
I
S-
--t=t^
^
leave-
these
hills.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abcdecM^ei
(2,2,2,2,2,2,2,2) = abbi (4,6,6) = nmmi = inverted barform. The art of
free, extemporaneous improvisation of a variation on a given tonal material
finds a masterly example in c^diei. The editor uses "extemporaneous im-
provisation" advisedly, as he has witnessed other performances, where on
several occasions the organist followed a well-prepared "recipe" in his "im-
provisation."
ADDITIONAL SONGS 477
748
FSE A-RUNNING
*I se A-Running.' Sung by Mrs. W. L. Pridgen, Durham, July 25, 1923.
Only the words of the title can be understood.
F-647
t=i:mi^=H^
m^^
^
I'se
run - nin
^Efe^=E^=
i
^^—^
I'se
run - nin'
Scale: Mode III. Tonal Center: c. Structure: abcabc (2,2,2,2,2,2) ^ aa
(6,6). A rather unusual structure of a six-measure phrase repeated. Circular
tune (V). The tonal center is the lowest tone.
749
Mike and Jerry
'Mike and Jerry.' Sung by W. H. Lander, Trinity College, Durham, December
5, 1919. MS score and record. The singer comes from Greenwood county,
S. C. The words in parentheses are spoken, and are only approximately in
the pitch suggested by the stems without actual notes attached to them. For
a related text cf. F-641.
F-648
I
is
It
^3
t:
Mike and Jer - ry
go
m
¥
^3
ing down the mam line (South-em)
Oh, they saw it come by (here) nev - er got no coal
i
^
^3=^
i
*:
noi (water) Must - 'uv' been a
gas
line (bum - er)
m
i
For
he
nev
er stopp'd by
(here).
Scale: Ditonic (2). Tonal Center: f. Structure: aa^a^a^aZa^ (2,2,2,2,2,2) ==
aa^aS (4,4,4). Every phrase cadences on III. The tonal center is the lowest
tone.
478
NORTH CAROLINA FOLKLORE
The Nigger and the Bee
'The Nigger and the Bee.' Anonymous singer. No place or date given on
MS score. This is, no doubt, of minstrel origin, but no print or reference to
it could be found. Compare, however, a similar song in ANFS 400 : 'Did You
Eber Go A-Fishin' On a Hot Summer Day?' The rather complicated structure
would certainly strengthen the opinion with regard to the origin of the song.
Otherwise, the tune is full of melodic 'innuendos' ; for instance, the beginning
borrows from 'Turkey in the Straw'; others, like measures 7, 11 etc.,
certainly acknowledge their acquaintance with a bow ! ^ ,
^
ff ^ r r ^ ^h^J^^^.-^
Did you e - her heah tell of de nig - gar an' de bee?
?
^
Yes, I did, 'deed I did. How de bee stung de nig
i
i
£
^^
^
S
^
:i^3
^
ger an' den he stung me? Yes, he did — deed he did. Dat
^
£
i
lit
nig - ger he said to de bee, 'Dere's sights in de gar - den
i
^
r ; g_g_^^=^=^
-/-/-
fo' to see. You suck de blos-soms an' get all de hon-ey,
m
^
An I'll be 'roun' an' get all de mon - ey.' An' to
s if N N s if
i
i
i
:^
ifc
^
de nig - ger 'twas fun - ny, — Fo' to rob de
'le
5
^^
^
bee of his hon-ey,-
But de bee laid fo' him An' oh,
S
^
J' J' J" J
such fun, Good-ness gra-cious! how de nig -ger did run. Dat
ADDITIONAL SONGS
479
i
m
^
£
bee, dat bee,
dat
'le
hon
ey bee
He
i
3E3
lit
stung dat nig - ger
i
^
g^^
jtzt
hard Till de nig - ger could - n't
I
6carce-ly see. Dat bee, dat bee, dat li - 'le hon - ey bee.
Scale: Heptachordal. Tonal Center: c. Structure: aaibbicdd^cefe (2,2,1,
1,2,1,1,2,2,2,2) ; the f is closely related to e. Thus we have a compound struc-
ture of strophe, barform, barform, strophe. The over-all form, however,
would be: abed (4,4,4,6). Here, b as well as c share in the same ending. The
tonal center is the lowest tone.
751
Oh ! I Had a Good Woman
'Ohl I Had a Good Woman.' Sung by K. W. Litaker, Trinity College, Dur-
ham, December 5, 1919; ms score and record. Note on score states: "Sung
in cotton fields in Cabarrus county within the last two years." Negro frag-
ment. Cf. ANFS 315; also JAFL xtiv 28, No. 26. With the exception of
the final cadence, the whole consists of a twice repeated measure.
F-650
i
S
i
^
4^-*-
Oh!
had
good worn - an, Oh! I had a
I
good wom - an, And the fool laid down and died.
Scale: Irrational (4,5,6), plagal. Tonal Center: f. Structure: aaa^ (1,1,2).
Every phrase cadences on I.
752
Old Folks Better Up and Git to Bed
'Old Folks Better Up and Git to Bed.' Sung by Thomas Litaker, Trinity
College, Durham, December 5, 1919. MS score and record. Singer said:
"This is a Work Song from Cabarrus county." (Negro fragment.) Cf.
ANFS 299.
48o
NORTH CAROLINA FOLKLORE
F-65I
2:
*
i
Old
folks bet - ter up and git
to
bed
Be-
^
J
3
^s:^
W
fore the young folks git the de - bil in their heads.
Scale: Mode III, plagal. Tonal Center: g. Structure: ab (4,4).
753
Such a Gittin' Up-stairs
'Such a Gittin' Up-stairs.' Sung by Dr. Bradley, Blowing Rock, Watauga
county, September 3, 1939. Cf. EASM 53, which gives G. Willig, Jr., of
Baltimore (n.d.) as publisher. A song of the same title but not content nor
melody can be found in SRA 73-4. Cf. also the remarks about this song
in AFS Ch 53. Bascom Lamar Lunsford told this editor that he heard his
father sing this song. In 1925 'Doc' Sams sang it to him also. For ad-
ditional versions cf. APPS 98, 187; SBPPG 32; SFLQ vi 3-4, No. i;
NFMNS I, 242-4, ibid. 11 167-8. For the same title cf. PTFLS (1916) 86,
No. I. For the beginning phrase cf. Ill 210, No. 165, first line of second
stanza. There are many other songs with this line: cf. TNFS 107; JAFL
xLiv 425 ; ANFS 243 ; FB 163. Melodically the tune resembles that of 'Some
Love Coffee, Some Love Tea' (Virginia).
F-652
Q^9 ^
— ^
^ ^^-^ _
— \^ — fr~fj~\ T
> w ^ -
» f
P ^ J P • F
r m
ir"S^4 '^
^
1 ^
1 y ^ 1 ?
• • J *
V^> 4-
L/ ^1
t? y f
^ [/
J
S _ V
N
night 'fore last the
old cow died
y , (l^ s' ,"\ i '
1^ p
K K \\ r
y\ h J '
' '
^
* 0 P J m
4 r
s
J _l^ _1^ _l
fKU 0 k, g w
1 y y ^
• 0 0 J S
\y\)
1/
0 N
^
V
old
Is : p
cow come to the Ufe a -
yfu ;
j-
P
^ — 'A
^ — ^: — f^
s s B & 1
m) -
^-
*
Jj A—
h^ —
^ ^ f^ •- •- 1
W-
gain,
n ^
y*-
Suc
h a
w ....
git - tin' up -
' 1
-0-'
stairs,
— -^1 d • 1
you nev - er saw a -
- IJ , r n' L-v K
s S
/\ h m
*
-
^ K r^
^ s s' s'
rn^ •
^
• m _i
N
S S' V - ■ - ■
\s\)
fj
• •
!^ V -; • J ' -
like,
Sue
h a
git - tin' up - stairs.
you nev - er saw a -
V , k
»
\ ^ ^ X
^ ^
'/Lh ^
> N S N
pv N tc s:
r(T\^ '
'j
* m J
N
S < V J '
iU> S
t
* S
P K' - ■ - ■ -
«J
V.
-0-
gain. Such a git - ting up - stairs, you nev - er saw a -
ADDITIONAL SONGS
481
^f\
^
V •—
like, Such a git- ting up- stairs you nev-er see a - gain.
For melodic relationship cf. **Wolford (iqSQ) I53, general melodic line,
compare our measures 9, ii, 13, I5. with 5, 7, and 9 there.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: aaibb^bbi (4,4.2,
2,2,2) =r abb (8,4,4) = nmm = inverted barform.
754
Yonder Come a Yaller Gal
'Yonder Come a Yaller Gal.' Sung by N. I. White, Durham, July 1922. For
similar text cf. ASb 313 B.
F-653
-Q,t7 9 ». 1
1 R— ^ 1
y -^ Z r P m • m
1* f* m '
1* ^ * i -^■
((Y 4 U .,;,..• .. J,.
-^ — Z — ff—
■ T H J -f^
^ — =L^^ ^ — ^ j:-!-^ — ^ — 1 — 1
Yon - der come a yal - ler gal.
l_V ^ yi- L_] 1
All dressed up in red —
y 1 [^ ^ 1
I ' >. 1
K
X 1
/[ h f\ ^ 1 J
M r
(S^
N d
m P
^\2 — P ^_,' •
-^ J J—
— J
-^-0 *
— w • -1
y *• *
^—d-- —
-0 1
Well, I wish my wife was dead, Well, I wish my wife was dead!
For melodic relationship cf. ***ANFS 411, slightly changed rhythmically.
Scale: Mode III. Tonal Center: e-flat. Structure: abb (4,2,2) = nmm =
inverted barform. The tonal center is the lowest tone.
755
Blow Gabriel
'Blow Gabriel.' Sung by Dr. Bradley, Blowing Rock, Watauga county,
September 3, 1939. For other texts cf. NS 86-7; SSGSI 87-8; ANS 209-10
(chorus) ; SS 3 (chorus) ; NSSUS 116 (same chorus). Our chorus resembles
somewhat 'Oh, Susanna.'
F-6S4
P^o , r-1
III ^ ^
1 — \ ^ ^ ' — '
/T b ^ 1^
CV
I
1
1 !
rh ••) J '■^
4
0 ^ A ^
' ' d d
\s\) Z § •
0
. Oh,
when
I
was lost in the wil
- der -
ness. King
\J , INN
1 1 N. N
/ b
^
J
I 1 N P
\(\^ *
•
J J
J J
\^) \ " "
i d
d •
Je -
n
sus
hand
- ed the can - dies
down,
And I
y 1
^ 1^ ^
, ,
/ b '
*
l(\^ *
4
d d 1
11 1 N N
V-; I
• d
tJ
'
J-
J- -J-
hope that trum - pet gwin' a blow me home To the
482
NORTH CAROLINA FOLKLORE
'■ New Je - ru - sa - lem. Blow, Ga - briel, Blow your trum-pet
{' t I
loud - er,
And
hope that trum - pet gwin' a
I
?
-75^
-:J: — ^
blow me home To the New Je - ru - sa
For melodic relationship cf. ***SS 3, chorus.
lem.
Scale : Hexachordal, plagal. Tonal Center : f. Structure ; abb^cdb^c (2,2,2,
2,4,2,2). Over-all form: abcb^ (4,4,4,4).
2nd stanza:
When Moses smote the water with his rod,
It rose right back, and we crossed dry-shod;
And I hope that trumpet gwin'a blow me home
To the New Jerusalem.
3rd stanza :
And when I escaped from the Red Sea flood,
I looked, an' thar King Jesus stood.
And I hope that trumpet gwin' a blow me home
To the New Jerusalem.
4th stanza:
When Joshua ordered the sun stood still,
King Jesus smiled on the highest hill ;
And I hope that trumpet gwin' a blow me home
To the New Jerusalem.
756
Drunkard's Dream
'Drunkard's Dream.' Sung by Mrs. Minnie Church with accordion accompani-
ment, Heaton, Avery county, August 10, 1939. The Churches live on Dark
Ridge, End of Nowhere Branch, Beech Creek. (Mrs. Minnie Church's ad-
dress is now 1511 Calvary Street, Detroit, Michigan.) For other text cf.
JAFL Lix 434, also F-33. The first two and a half measures are identical
with 'The Wearing of the Green,' the first two of the chorus with 'There's No
Place Like Home.' Not all of the words could be understood.
F-655
^
^
^
^-^Jr
^-"-^
The lit - tie child was dy - ing, She called her fa - ther there.
ADDITIONAL SONGS
483
i
pp^j J J iKr'~vj
^m
And- on his arm re - clin - ing She whis-pered in his ear,
' I I
feii
3
^ I
'I'm goin' home to glo - ry, A gold - en crown* to wear;
i
^
B
w
Meet me, oh, meet me. Meet me o - ver there.'
Scale: Hexatonic (4). Tonal Center: b-flat. Structure: ababcc^c^b (2,2,2,
2,2,2,2,2) = aabb^ (4,4,4,4) ; b^ shares the ending with a. The tonal center
is the lowest tone.
2nd stanza:
Our father was no Christian,
His sins were unforgiven,
3rd stanza :
The angels came and took her,
The angels are not there,
They bore her up to heaven
She whispered as
757
Dry Bones
'Dry Bones.' Sung by Bascom Lamar Lunsford, Turkey Creek, Buncombe
county. No date given. For similar texts cf. JAFL xxxv 242 ; Mellows
53; also NS 102 (different text).
F-656
i
r
^— #-
Dry Bones — in the val - ley
Get up and take
-:i^-^
lit
tie walk. The deaf could hear, And thei
^
dumb could talk
I saw the hght from
484
NORTH CAROLINA FOLKLORE
I
heav - en
Stanza 2
the light come down.
=t:
*
^
^
3tZZ2^
^— 1\ N .S
Xiiji*'^' ^ i
h N s
:aLj-3t
-^r^
?c=t
:^t=t
:p=— p:
N — N-
^^
N — t
S d
Scale: Mode III, plagal. Tonal Center: f. Structure: abc (2,3,3), certainly
not a common structure.
2nd stanza:
'Old Enoch he lived to be
Three hundred and sixty-five
When the Lord come and took him
Back to heaven, alive, I saw,
I saw the light come shining
I saw the light come down.'
758
Gimme Oil in My Lamp
'Gimme Oil in My Lamp.' Sung by Will ("Shorty") Love, Trinity College
and Duke University janitor, December 9, 1939. For a similar idea cf. FSoA
168.
F-657
B^
^
m
^
Gim - me oil in my lamp, keep shin - in' and look
jf=5"
Ps IVt
— d ^ ^~
a f—
1 "-
— f — T—
M=
7 ^
s 0 * &)
/ V —
down. Gim - me oil in my lamp I will pray ev - ery
i
S
fc—— K
day. Gim - me oil in my lamp, keep sliin - in' and look
ADDITIONAL SONGS
485
:^^
down
Un - til-
the break -
of day.
m
^
tu-
the
I
Scale : Hexachordal. Tonal Center : g. Structure : abacabd (2,2,2,2,2,2,4) =
aa^ab (4,4,4,4). The tonal center is the lowest tone. The only change in
the text of the various stanzas takes place wherever "Gimme oil" occurs. This
is replaced by : "I have oil" ; "You'll need oil" ; "You need's oil."
759
Got to Cross Jordan
'Got to Cross Jordan.' Anonymous singer, ms score without text. No place
or date given. For additional version cf. ASb 486.
F-658
^
^
1^ ^ I
^
:2±
fj
W p F
^^
^^m
I
w
Scale: Tetratonic (4). Tonal Center: f. Structure: aa^baS (2,2,2,2) —
Reprisenbar. The second half of b is related to that of a. The tonal center
is the lowest tone.
760
O Bear Me Away on Your Snowy White Wing
'O Bear Me Away on Your Snowy White Wing.' Sung by Thomas Litaker,
Trinity College, Durham. He gave the text in 1919; the tune, however,
was recorded either in 1920 or in 1921. Newman I. White notes: "This
is a line from a hymn sung by white people." A Negro fragment. It was sung
by a negro tenant on a farm in Cabarrus county. Our tune is incomplete as
it has only the second group of two lines given in ANFS 125. The melodic
line of the first two measures is the same as that for 'Hanging Johnnie' in
this volume, F-678.
486
NORTH CAROLINA FOLKLORE
ntt
N fL
F-6S9
i/'T n
s
N
\ .i^ J^ _._.__ js
■ ^
^
.'^ 1 ' ," J 1 1 '
fW N
J
^
J - • -'
•
J !^ 1 ^
vC[) 8
0
0+t
bear
me
a - way on your
snow
» # #
- y - white wing, 0
J/fl" N.
II
/L IV. ' ' N s .
N - - ' "
Ifh 1^
j^
7^
J r
r r 1
W — J —
^
— ^
—^ ^ J-^
—J
-J J J "
bear me a - wav on your snow - y - white wing.
Scale: Hexatonic (4). Tonal Center: g. Structure: aa^ (2,2). (Fragment.)
Circular tune (V).
761
Oh, Where Shall I Be?
'Oh, Where Shall I Be?' Anonymous singer. MS score, about 1919 or 1920.
No place given. For additional related texts cf. ANFS 80; JAFL xxvi 155,
and XXVII 257; *0h, where shall I be when the first trumpet sounds?' The
latter version^ was collected in Tennessee and edited by Mrs. Anna Kranz
Odum. The beginning of our tune recalls 'You take the high road and I'll take
the low road.'
F-660
Chorus
^
Oh, where shall I be when that last trum - pet sounds? Oh,
^.
:^
S
where shall I be when it sounds
loud? When it
m
sounds so
loud as
to wake up the dead. Oh,
H d •-
I
where shall
be '* when it
sounds so
loud?
For melodic relationship cf. ***NASb 14; BANS i 136; RFSN 172;
FSRA 147-9; WNS 206-7, No. 85, chorus; ASoWS 17, No. 30, chorus; note
the Irish final cadence.
Scale: Mode III, plagal. Tonal Center: g. Structure: aa^ba^ (2,2,2,2) =
Reprisenbar.
1 The author refers here to another version from Mississippi previously pub-
lished by Dr. Howard W. Odum.
ADDITIONAL SONGS
762
The Road is Rocky
487
'The Road is Rocky.' Sung by a road gang. MS score. No place or date
given. Negro fragment. Cf. ANFS 112 and 264, also F-542.
F-661
:Sl
The
road
rock - y,
Lord - y,-
I
lit
But
it won't
he
rock - y
long.-
Scale : Triadic, plagal. Tonal Center : g. Structure : ab (4,4) ; both phrases
share the same ending. Every phrase cadences on V. Circular tune (V).
763
Star in the East
'Star in the East.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty. No date given. Frank C. Brown notes : "Cf. Southern Harmony 16.
This is different air. Many of these sung at Blackwood's Chapel, Mont-
gomery county." There is, however, some similarity of melody with our
version. Cf. also the Episcopal Hymn 'Brightest and Best.' The use of the
natural and sharpened seventh suggests a characteristic quality of the Mixo-
lydian mode.
F-662
h
^
S
^
4-t-
*:
Hail the blest morn, see the great Me - di - a - tor ^
^
1
4^^=1V
^
Dovm from the re - gions of glo - ry de - scend. Shep-herds, go
t^
^
^
^i^
wor - ship the babe in the man - ger! Lo, for his
m
^
1
guard the bright an - gels at - tend. Bright-est and best of the
^
5
sons of the mom - ing, Dawn on our dark - ness and
m
NORTH CAROLINA FOLKLORE
lend us thine aid. Star in the East, the ho - ri - zon a-
h
m
3^
i
dorn - ing, Guide where our in - fant Re - deem - er is laid.
For melodic relationship cf. ***DESO 189, No. 183; **ASoWS 181,
No. 327.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: abaibcdeb (4,4,4.
4,4,4,4,4) = aabc (8,8,8,8) ; the second half of c is the same as that of a.
764
Storm Bird
'Storm Bird.' Sung by C. K. Tillett, Roanoke Island, December 29, 1922.
Catalogue says: "Midgett text," but no text can be found except what could
be got from the recording. For a related text cf. WNS 187.
F-663
ts*—
The storm-bird hves up - on the rock. The an - gry surg - es roar —
a
i
:J=^
temp-est o'er. —
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (4,4,4,4).
765
Tell My Mother
'Tell My Mother.' Sung by Miss Jewell Robbins, Pekin, Montgomery coun-
ty, 1921-22. Newman I. White says: "Submitted as a Negro Spiritual."
The typewritten text gives "study" instead of "steady," but from the recording,
the latter is, no doubt, correct. Our chorus is almost identical with that of
F-546 by the same singer. For a related text cf. NSNH 46.
F-664
?^=^
g=^=^
i
:^
3^
ffiE2
i
Tell — my — moth - er, Tell — her for
9
me,
To
i
meet me in the morn - ing at Gal
lee,
ADDITIONAL SONGS
489
■^
^
3;
i!=b:
Oh, you bet - ter walk stead - y,
Je - sus
a:
^
^
^
it
:ia
list - enin' ;
Oh,
you bet - ter walk stead - y.
3
J^J^-J^H— X:^
itz*
■^
Je - sus died,
Oh, you bet - ter walk stead - y,
i
§
%)% [ r r
Je
list
enin ,
All-
day
-<5^
long.
Scale : Heptachordal. Tonal Center : c. Structure : aa^abcc^cb (2,2,2,2,2,2,2,2)
= aa^bb^ (4,4,4,4) ; here, a^ and b^ share the same ending. The tonal center
is the lowest tone.
766
There's a Place Prepared
'There's a Place Prepared.' Sung by E. C. Lovell, Trinity College, Durham,
December 5, 1919. MS score and record. (Negro fragment.) For a related
text cf. ANFS 121.
F-665
i
There's a place pre-pared by my Sav - iour's side Jus'
i
fc*
^=,=t
s
W
o - ver in the glo - ry land. There's a place pre -
*
5E£3
S
S
pared for the Sane - ti - fied Jus'
ver in the glo - ry
^^
land. Jus' o - ver in the glo
ry
land.
rii
^^
-* •— * * ' #
jine the hap - py an - gel
J- ^ • ^
o - ver in the
band Jus'
490
NORTH CAROLINA FOLKLORE
a
glo
i£
£
S
N K
ry
land. There's a place pre - pared by my
r r . J-
i
Sav - iour's side Jus' o - ver in the glo - ry land.
Scale: Hexachordal, plagal. Tonal Center: a. Structure: aaba (4,4,6,4) =
Reprisenbar.
767
Thorny Desert
'Thorny Desert.' Sung by Miss Jewell Robbins, Pekin, Montgomery county.
No date given. Frank C. Brown notes : "See Southern Harmony p. 85. This
is different air. Many of these sung at Blackwood's Chapel, Montgomery
county." Nevertheless, the song, with the exception of the initial live meas-
ures of the chorus, is identical with the version in Southern Harmony, p.
83, as quoted in ASoWS 146.
F-666
.; i' f
^^
^m
Rough and thorn
y— IS
the
des
art,
^^^
^
^
Need - y pil - grims make their way. But be - yond this
^
vale of sor - rows, Lie the fields of end - less day.
Fiends, loud howl - ing through the des - ert Make them trem - ble
^
as they go; And the fier
y darts of Sa
tan
l^
Oft
bring
their
age
low.
ADDITIONAL SONGS
For melodic relationship cf: **ASoWS 146, No. 250.
491
Scale : Mode III, plagal. Tonal Center : g. Structure : aaba (4,4,4,4) =
Reprisenbar.
768
Was You There When They Crucified Jesus?
'Was You There When They Crucified Jesus?' Sung by Mrs. Nora Hicks,
Mast's Gap, Watauga county, September 5, 1940. For other versions cf.
JAFL X 116 and lix 470 (Index).
F-667
Was you there when they went to Gal - i
lee,-
zi?:
i^
^
4=
Was you there when they went to Gal - i - lee.-
Oh-
(^)
n h
1
y .u ^ 1 II,
q
/ b r
\
1
1
V
1 ,
fS
((v
^
!
1
1
'
^ 1 I
Xs J ' ' \ m A A . .
' }i r \ \
XJ
^
^
^
-#-
-*- -^. -TTi-
some-times it caus - es me to trem - ble, — trem - ble,-
Was you there when they went to Gal - i - lee.
B or
-V-
5
For melodic relationship cf. **WNS 221 ; ANS 105 ; Dett, Appendix vi,
first eight measures. *BANS 11 136, beginning only; FSSH 415.
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: abca (4,4,4,4).
769
The Watchman's Call
'The Watchman's Call.' Sung by Mrs. Manassa Wiseman, at the foot of
Buck Hill, near Spear, Avery county, September 7, 1939. The singer was
then seventy-nine years of age.
F-668
S
1
:^
The watch - man blows
the—
trum - pet loud. Come
492
^
NORTH CAROLINA FOLKLORE
^9=^
^
1
-iS^-r-
lis - ten to the trum-pet's sound. And be as - sured there's
i
±1
^
^
i^
w
V— V
dan - ger there. How man - y are pre - pared to die? Your
^
^-
K— V
■# — « ^-<s^
days
head will soon be-
o'er And time to
ii
i^fefci
^-^
you re - turn no-
4:
-more, Oh,
^^
^
t
soul to save What will — I have be - yond the grave?
Scale: Mode III, plagal. Tonal Center: e-flat. Structure: ababcca^b (2,2,2,
2,2,2,2,2) = aabai (4,4,4,4) := Reprisenbar.
770
Way Back In Heaven
'Way Back In Heaven.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county, 1921-22.
F-669
o\
^^
^"^
_
...
Uiiufty
^ n ^
• "fi ^ 1
1
r^ ^
/5 3 1
r>
If ^ ^ t>
1
ir>
\-) Z J
^ J
1 1
d ^
^
V,
^
'
Way back in heav'n don't you want to go?
f
is:
-(2^
1
3tlit
Way back in — heav'n, don't you want to go? Way back in —
^MV
I
t:
-C^-
heav-en, don't you want to go? — Oh, yes, I want to go.
Scale: Mode III, plagal. Tonal Center: a. Structure: abab^'ab^c (2,2,2,2,2,2,2)
= aa^a^b (4,4,4,2). Whether the psychological urge to "go" caused the
singer to contract the last phrase, is, of course, not possible to state.
ADDITIONAL SONGS
493
771
Wayfaring Stranger
'Wayfaring Stranger.' From Dr. W. A. Abrams' recording of the singing
of Horton Barker from Chilhowie, Virginia, at Boone, Watauga county,
September 14, 1941. Jackson's version of this song (No. 40 in SFSEA), to-
gether with some remarks about the latter, presents quite a problem. To
begin with, the signature shows one sharp, but there is not even one f to ac-
commodate this demand. The scale is simply the second mode of the
pentatonic scale. The d-sharps of both cadences, functioning as leading tones,
must be credited to more recent environmental influences to which the singer
undoubtedly was exposed. How the d-flat in the score, mentioned by Dr,
Jackson, could possibly be "an intrusion of Dorian influence" as he says, is
difficult to understand. Aside from this, it would prove highly interesting to
observe a singer, trained and experienced in modal music, wrestling with
such unholy intervals. Worse than 'diabolus in musica.'
F-670
3:
^
m
iS
I'm just a poor way - far - ing stran - ger, Wan-'dring
i
^
i
w
jOL
through this world of woe. There's do sick - ness, pain, or
I
iE
?
sor - row In that bright world to which I go.
i
jt
S
w
I'm go - ing back to meet my fa - ther, I'm go - ing
■fr^rr-t
back, no more to roam. I'm
ly
go - mg o - ver
^
S
^
— » —
just
Jor - dan, I'm
a - go
ing
ver home.
For melodic relationship cf: ***OSC 37; FSUSA 346; SOCG 48 (in
^!); **NASb 47; WNS 197-9; SHP 54; SFSEA 71 (note remarks). In
addition to this, there is an unexpected relationship involving a certain melodic
idiom to be found in the Easter Sunday Sequence 'Victimae Paschalis
Laudes,' a hymn and air by Wipo (1050).! The melodic equivalent of "Agnus
redemit oves," as well as "Mors et vita duello," will be found to be identical
494
NORTH CAROLINA FOLKLORE
with the phrase in our chorus: "to meet my father, I'm going." Furthermore,
in a hymn 'O Thou Great God' dating from the Minnesingers of the fourteenth
century, we find the same melodic progressions as in our chorus to the words
"I'm only going over Jordan," in measures 8-12 of the chorus of this hymn.2
Scale: Mode II, plagal. Tonal Center: d(m). Structure: aa^ba^ (4,4,4,4) =
Reprisenbar.
1 Liber Usualis, Solesmes Edition, 1934, published by Desclee et Cie, Tournai,
Belgium.
2 Hans Joachim Moser, Geschichte der Deutschen Musik, Cotta, Berlin und
Stuttgart, 1921-28, p. 77.
772
When in Death I Calmly Recline
'When In Death I Calmly Recline.' Sung by Miss Jewell Robbins, Pekin,
Montgomery county, 1921 or 1922. For a related text with quite a few
peculiarities cf. ASoWS 84, No. 129.
F-671
^
S
I calm - ly
When in
death-
cline,-
^^
bear my heart to my mis - tress dear; I tell her it
=^
5
3t=a:
^
lives- on smiles and wine — Of the bright -est hue while she
i
i
lin
gers near. Bid her not shed one tear of sor-row, To
S
sul - ly
heart
bril - liant and light; But
i
s
bear
me drops of
z N-
the
red grape bor - row And
i
bathe
the rel
From morn till night. —
ADDITIONAL SONGS
For melodic relationship cf : ***ASoWS 84, No. 129; **ASb 155.
495
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: ababcdc'b (2,2,2,
2,2,2,2,2) ; d is related to c. Over-all form: aabb^ (4,4,4,4), the ending of b^
is the same as that of a.
773
Wondrous Love
'Wondrous Love.' From Dr. W. A. Abrams' recording of the singing of
Horton Barker from Qiilhowie, Virginia, at Boone, Watauga county, Septem-
ber 14, 1941. Cf. here SFSEA 114-15, No. 88, where Dr. Jackson says:
"I have heard the county folk sing this tune with the Dorian raised sixth."
Our singer does likewise. To this should be added that the raised, or should
we say the natural sixth, is always characteristic of Dorian, although frequently
the sixth is lowered. For a related text cf. WNS 177. For remainder of
text consult the various Baptist tune books or SFSEA 114.
F-672
=1:
1
Trb-
:2:
What
won-drous love is this, O my soul! O my
i
i
22
^
soul! What won-drous love is this, O my
—7^ — —
soul! What
i
g
w^
3
won-drous love is this! That caused the Lord to send, To
5^
— z? —
soul,
send
such per - feet peace to my
to
my
^^
I
:2-
to ray soul?
2; SFSEA 114, No. 88;
soul, To send such tht - fort peace
For melodic relationship cf: ***TFH 4, No.
FSUSA 348-9-
Scale: Dorian, plagal. Tonal Center: d(m). Structure: abca^b (4,3,4,4,3); c
is related to a. Over-all form: aba^ (7,4,7). This is not a three-part song
form, especially as b is related to a and has, in varied form, the same cadence.
The well-known phenomenon of cutting a sustained tone short causes each
of the first and last phrases to drop one measure at the end. What would
otherwise be three regular phrases of 8,4,8 measures respectively, turns out
to be 7, 4, and 7, the elision being in the seventh and eighteenth measures.
496
NORTH CAROLINA FOLKLORE
774
A Plea for Mercy
No title. Anonymous female singer. No place or date given. Measures 4-
5 are identical with the third and fourth of F-61. There is evidence of some
real, economical exploitation of melodic material : measures 8-9 with up-beat,
10-12, 13-14 with up-beat and the transformation of measures 3-5 by repetition
and extension into the last four measures with up-beat. No more of the text
could be understood.
F-673
i
±1
In a plea for mer - cy Near their Fa-ther's dwell-ing go,
i
^
-'±=t
■^
Where poor sin-ners are con-fess-ing All
I
:M^
&:=£=^
^
W
^
Bi - ble
an-oth - er plan.
^=Pd r i. ; g
I
^^
-z^
-& V
There is
noth - ing
but
the
Bi - ble
of
17
man.
/
1
p ^ ^
•
N ^
_h.
^ 1
d m 1 V
». n. N N
F
^ i' r
^ m
^ ,> r .'^
«;
^-J — J-J
~J •
— • —
-1^
^ — #-
-4 — 4-^
Go my daugh - ter. you are
Scale: Mode III, plagal. Tonal Center: g. Structure: abed (5,4,5,4).
Second stanza :
Go my daughter, you are able
To destroy
Both in sermon and in song.
775
Hell Broke Loose in Georgia
'Hell Broke Loose In Georgia.' Sung by Bascom Lamar Lunsford, Turkey
Creek, Buncombe county, to this editor. Lunsford said that his great-uncle,
S. O. Deaver, Madison county, sang it more than sixty years ago, and called
this tune also 'Mush Ice,' so that he could talk about it in "polite society."
For a related text cf. CRS Kit 47, 16.
ADDITIONAL SONGS
m
497
F-674
^1^
5
Ain't no hell in Georg - ie-
Ain't no hell in
1^
Georg - ie
Ain't no hell in Georg -ie-
Ain't no
=2:
^
^
hell
in Georg - ie.
Lit - tie
In - dian goeo
^
Georg - ie, Lit - tie In - dian goes Georg - ie, Lit - tie
i=t
^
— N-
i^
-• ^- H
In - dian goes Georg - ie. Lit - tie In - dian goes Georg - ie.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: aba^bcdcdi
(2,2,2,2,2,2,2,2) = aa^bb^ (4,4,4,4).
776
Goodbye to the Cracking of the Pistols
No title. Anonymous male singer with banjo accompaniment. Through
patient search a song was found which, melodically as well as textually is
almost identical with our version. Cf. CS (1938) 98-9, 'The Dying Cowboy
of Rim Rock Ranch.' Our stanza is the second there. The chorus is practically
the same. Owing to the poor 'dubbing,' some of the words could not be
understood. No doubt, the end of our second line should read "spur" instead
of "fur." The missing word of the second line is supplied there.
F-675
morn - ing
Good - bye to the wild life of
498
i
NORTH CAROLINA FOLKLORE
fN ^
4^
t=:e=P=?
V.A-
fur.
For I'm rid - ing a - way on the last round - up
N —^
^:
3
^
Where the sun is a - sink - ing- low. Yes I'm rid - ing a - way
i^
^
I
on the last round-up Where the sun is a - sink - ing low.
For melodic relationship cf. ***CS 98-9.
Scale : Heptachordal, plagal. Tonal Center : b-flat. Structure : abacaib^a^c
(2,2,2,2,2,2,2,2) = aa^a^a^ (4,4,4,4).
Third stanza:
Goodbye to the lurching of the coyote,
Goodbye to the call of the dove,
Goodbye to the Rim Rock Ranch,
Goodbye to the girl that I love.
777
JiMMIE SUTTONTON
'Jimmie Suttonton.' Sung by Miss Hattie McNeill, Ferguson, Wilkes county,
1922. MS score and record. The latter produces nothing but noise, and con-
trary to the catalogue, there is no text. The variations given are those noted
on the MS score, which, however, had a question mark attached. The whole
song actually consists of two measures which, through repetition and pitch
variation, furnish all of the melodic line. Rhythmically, there is, with the
exception of the final cadence, no difference whatsoever. A related title
'Old Jimmie Sutton' in FSSM 46-7 is not related textually or melodically.
F-676
S 1 — - — f^* ^ s s -H ^ S s K
A — 0 0-- 0 ' i V ^ H 0 0-- • I I
=t L^ 0 ^ — ^ — ^ — I \-0 0-
-p 1
K
N
• ^ ^
1 ' K
K
K
^ h.
ff\ ^ s ^
J J . J^
1 N N
\>-)
j\ K J
^
^
J
J
J"^ K J
1 .i^ iO
tJ
^ J> s
^ -0- ^
-0-
^. -0-'
i
(try rs j' _!^— A— .^- I ^ N-~ ^ I2 — ^— v-4^:q==i:
W J- ^ ^ -/'^ ' -J- J-. J> 'J- ^ ^ J ^ -i 'J:
JL_H ^ — M • N "^ • . ' — ^R-^
— s STT-^ f** n
— ^ — ^ — 1 — ' — E k^ — ■
^j—i — J • >M * * -^ ^ ^\:
J. /' * * j^_^ T'
^ ^ • — »^^— * — '
1 ^ ^ • — "
ADDITIONAL SONGS
499
Scale: Tetratonic (4). Tonal Center: c. Structure: aaabb^ (2,2,2,2,4); b
is very closely related to a. There is an evident elision between the sixth
and seventh measures ; the final note of the third phrase is also the first of
the next phrase. The same holds true for the eighth and ninth measures. The
tonal center is the lowest tone.
778
Blow the Man Down
'Blow the Man Down.' Sung by Thomas Leary, Olin, Iredell county, August
24, 1939. The version in ABFS 491 furnishes an interesting example of
what can happen to a tune on its melodic odyssey. Musically speaking, our
version seems much more satisfying. The author of BoS 50, refers to the
melodic relationship of the beginning to the well-known 'Silent Night, Holy
Night.' For another text cf. IMWS 45.
F-677
l#
i£^
One day I was walk - ing down Win - ches - ter
^
Street With a - weigh, heigh, blow the man down! A
^-^=^-
^=^fj;
^
come - ly young dam - sel I hap - pened to find, Oh,
5=?:
:t
^^
give
some time
to
blow thp man down.
For melodic relationship cf. ***TFS 123; Ford 329; EFC 44; FSONE
129; TAS 83; **FB 157; JAFL xliv 298, and lix 109; compare in these
three versions our first eight and last four measures with the first eight and
last four or two measures there. Also BoS 50; RG 14; ASb 404 and PC 4.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aba^c (4,4,4,4) =:
aai (8,8).
779
Hanging Johnnie
'Hanging Johnnie.' Sung by Thomas Leary, Olin, Iredell county, August
24, 1939. Cf. also BoS 44; RG 27; and IMWS 81.
500
NORTH CAROLINA FOLKLORE
F-678
S
^*=P=
^^-^
lES^^^
V— V-
They call me hang - ing John - nie — , A - way — boys, a -
^
^i
-#-=—•-
±:
i^S
way, — They say I'll hang for mon - ey, — Hang boys, hang. —
l_a (once)
|^T~J^~~^'
For melodic relationship cf. **FSCSG 102, measures 3-4; EFC 56;
♦SSGSI 204.
Scale: Hexachordal, plagal. Tonal Center: e-flat. Structure: abac (2,2,2,2)
= aai (4,4).
780
Haul Away, Joe
'Haul Away, Joe.' Sung by Thomas Leary, Iredell county, August 24, 1939.
All of this singer's eight chanties were learned near Glouster, Massachusetts.
There are some melodic variations from the known versions, particularly in
measures 3 and 11. Cf. also TFS 1 12-13; FSONE 138; PC 18, No. 7, and
IMWS 92.
F-679
Solo
Pi^
-N-
3. King Louis was the King of France be - fore the Re - vo -
Chorus
^3
^-■
^ *
lu - tion. Way, haul a - way,- we'll haul a -way — Joe!-
SOLO
--N-
Dt=it
s
But then he got his head cut off, which spoiled his con - sti
^m
I
d •^
tu
tion. Way, haul a - way, we'll haul a - way Joe. —
ADDITIONAL SONGS SOI
For melodic relationship cf. ***RG 3; **EFC 32; PSB 31.
Scale: Hexatonic (2). Tonal Center: c. Structure: abacabac (2,2,2,2,2,2,2,2)
1= aa^aa^ (4,4,4,4). The tonal center is the lowest and highest tone.
Hullabaloo Balay
'Hullabaloo Balay.' Sung by Thomas Leary, Olin, Iredell county, August
24, 1939- There is a game-song with the title 'Hullabaloo Balay,' which
has no connection with our song. Cf. HOSFG 6.
F-680
Venj fast
«
^3^
^
^B?
Me mith - er ran the board - in' house, Hul - la - ba-loo, be-
i
¥
^^
lay; Hul - la - ba - loo, ba - la, be - lay. Me fa - ther
i
-W^
^^^
S
^
^
ran the hoard - in' house, Hul - la - ha - loo, be - lay.
For melodic relationship cf. ***BISB 138-9; *OFS 11 59, No. 140.
Scale: Irrational (2,6). Tonal Center: c(m). Structure: abb^ac (2,2,2,2,2)
= aa^ (6,4). The tonal center is the lowest tone.
782
Lanky, Lucy, Lister
'Lanky, Lucy, Lister.' Sung by Thomas Leary, Olin, Iredell county, August
24, 1939. 'Lanky, Lucy, Sister' is given in catalogue although the singer
distinctly sings : "The lanky, Lucy, Lister."
F-681
m
xrr^j
&
*
-N-
y— ^*— 5zi^
The Ian - ky, Lu - cy, List - er, Oi - yo, di - o, di -
^
5=t
:i=^
I nev
ven kissed her, Oi -
w.
^m
^■
yo,
di - o,
di
Lan
ky, Lu
cy
502
NORTH CAROLINA FOLKLORE
^^
m
Lis
ter,
ven kissed her, But
g^^r j=fcj^ESEFiN^r' I J_g .R J ^7tj7^tl
I se-duced her sis - ter, Oi - yo, di - o, di - o.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: ababcciab
(2,2,2,2,2,2,2,2) = aaba (4,4,4,4) = Reprisenbar.
783
What Shall We Do with a Drunken Sailor?
'What Shall We Do with a Drunken Sailor?' Sung by Thomas Leary,
Olin, Iredell county, August 24, 1939. For additional versions of. BISB 136;
EFC 8; Ford 74; CRS Kit Q 32; and APPS 218-19. The last two measures
are identical with those of the stanza of score 135 (IV 89, No. 37G), The
tune for the stanza will serve the chorus as well.
F-682
What shall we do with a drunk - en sail - or, What shall we
-^'-f-
— ^ — ^-N — 1
— |—
— ^ — T' — r
^ ^
— » — • • —
— ^~
— 1 —
1
— • —
*
0 0 s
do with a drank - en sail - or. What shall we do with a
i
— Z5l Z5^—
mom - ine?
drunk - en sail - or, So ear - ly
the
For melodic relationship cf. ***RG 30; the only difference is that our
tune is in Dorian with natural sixth degree, there the sixth is flattened ; **EFC
8, our version lacks the chorus.
Scale: Dorian, plagal. Tonal Center: d(m),
barform.
Structure: mm^n (2,2,4) =
784
When Johnnie Comes Down to Hilo
'When Johnnie Comes Down to Hilo.' Sung by Thomas Leary, Olin, Iredell
county, August 24, 1939. Cf. RG 46, the chorus as noted there is musically
incorrect. ABFS gives another title: 'Shanty Man.' For another text cf.
IMWS 83.
ADDITIONAL SONGS
F-683
S
ifS^^
m
-■^
Nev - er seen such a sight since I was bom, As a
IF
r^—^'V-j^
big buck nig - ger with his sea - boots on, When John-ny
-fh
1 ,^ 1 1
]— r — 1 — ^-<
/ 5 lit
k
s>
m J
1
1 1 r
r
^T^
-^
• • •
J
=:std
h^^l
• ^
— ^ —
comes down to Hi- lo, — Poor old man! Oh, wake her, oh,
-^
3^^
^
:1t
shake her, Oh, wake that gal with a blue dress on! When
^
^
3^
John-ny comes down to Hi - lo, — Poor old man!
^\ r^^
rU ^ r
— 1 p s • a —
3 IV
1 ^ N —
— i "r-
— ^—
^^^ — '^
* 9 1 ^j '
1 c! 1 ii — I
• d
—d —
=^t=^
For melodic relationship of. ***ABFS 484; FSCSG 105; **EFC 19;
compare also measures 3-6 of stanza and chorus with measures 1-4 of OFS in
352-4 ('The Girl I Left Behind Me').
Scale: Hexatonic (4), plagal. Tonal Center: d. Structure: abcdaib^cd
(2,2,2,2,2,2,2,2) — abaifa (4,4,4,4).
2nd stanza:
Did you ever see the plantation boss
With the long-tailed whip and a short-tailed hoss?
When Johnnie comes down to Hilo,
Poor old man.
785
Whiskey Johnny
'Whiskey Johnny.' Sung by Thomas Leary, Olin, Iredell county, August
24, 1939. For additional versions cf. JAFL xix 19; EM 39- ABFS 486-
FSONE 15, and IMWS 82.
504
NORTH CAROLINA FOLKLORE
F-684
m
^
^
^
^
^
2. O, whis - key killed me poor old dad, Whis - key John-nie! And
tz
I
^
±=iz
whis - key drove me mith - er mad, Whis - key for my John - nie !
7 and frequently
-^ •
For melodic relationship cf. **BoS 37, first four measures; EFC S3;
*JAFL Lix 113, final measures; RG 6; ASb 403; in the last two versions meas-
ures 3-4 only.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: abed (2,2,2,2);
b is slightly related to a.
786
No title. Sung by Miss Pearle Webb. No place or date given. Com-
pare this tune with the very closely related melodic line of 'Poor Naomi,' (IV
320-1, No. 300A, score 474)-
F-685
^-
=^^=J=
-^
^=f^^=^
^ ' V.
i
r=^
Scale: Hexachordal, plagal. Tonal Center: f. Structure: ab (4,4). Circular
tune (V).
CHILDREN'S GAMES
AND RHYMES
BATTLE GAMES
Yankee Soldiers
'Yankee Soldiers.' Anonymous singer. No place or date given,
score gives Sutton-Wilder as collectors. Cf. I 43-
The MS
G-i
bread and wine? For we are the Yan - kee Sol
For melodic relationship cf. **FSCSG 92, measures 3-8.
Scale: Heptachordal. Tonal Center: e-flat. Structure: abac (2,2,2,
(4,4). The tonal center is the lowest tone.
diers.
9-jr-jj-n* 1
l^j
fv-
—f 1
b K -^ 1
4
_
J
K
J
\P ^ ^ L
1 - ," » 1
^\J H- '
, ,
[j
; .
i
, Have
0 1^
you
an
- y
bread
and
wine?
For
y J^ ^
•
0
W^'^~^
— •^
-f —
— •
-h .-
— • P—
— ' h —
r
v^ —
we
are
—^ ^
the
— i —
Yan -
kees.
Have
— V ^-
you an
i^ '
- y
^
/ 1 '-^ ^
s
^ ^
^
^
II
U - '^
J N
s
N «
fN
1 n
fm^ '^' m '
« •
^
J
1 II
V) -^ •
0
• —
^
1 — •—
0 u
r^ aal
2) = aa-
DRAMATIC GAMES
Jennie Jones
'Jennie Jones.' Anonymous singer. No place or date given. The ms score
gives again Sutton-Wilder as collectors. Cf. I 44-6; GSAC 243-4, No. 11.
Our tune is that also used for 'Here We Go Round the Mulberry Bush.'
G-2
?P^^=^
—\
— N-^-
^-n
1 —
— • —
p
-f — r-
Pv-
-t — r^
S^»7
J
— • J
—U—
— i^ —
• —
— « —
• ^
'I'm goin' to see Miss Jen - nie Ann Jones, Miss Jen - nie
ta
Ann Jones, Miss Jen - nie Ann Jones; I'm go - in' to see Miss
^=r-
ti
§
Jen - nie Ann Jones And how are you
to
day?'-
For melodic relationship cf. ***FSoAi32; **JAFL xlix 253; APPSSG
31 ; SFLQ VI 190.
Scale: Irrational (4,6), plagal. Tonal Center: g. Structure: abab^ (2,2,2,2)
= aa^ (4,4). All phrases cadence on I.
Old Witch
'Old Man Hippety Hop.' Anonymous singer, no place or date given. The MS
score gives Sutton-Wilder as collectors. Other titles: 'Mammy' and 'Old
Witch.' This is a Negro version. Cf. hereto 'Black sheep, black sheep,
where'd you leave your lamb?' Also I 53. For another version cf. AMS
48 (for last line of text) and for different text: Ford 264.
G-3
n h
3
^
1
y 1 1' 9
^ ^
s
^
^
N
1
y* b ^ ^ N
^
K N
f^;
J ' -
[>^
N
l(^ t^A 1
9
^
V- ^ "+ J
J
•^
J J
d *
"■
Old Man Hip - pe - ty Hop tuck my chile; Put him
DRAMATIC GAMES
509
com fiel', Bugs an' flies eat -in' out his eyes;
— N N — #—
Po' lit - tie thing cries, Mam - my,
Scale : Pentachordal. Tonal Center : e-flat.
m
Mam - my, Mam - my.
Structure : abcb (2,2,2,4) =
ab (4,6) ; the endings of a and b are the same,
lowest tone.
The tonal center is the
Lazy Mary
'Lazy Mary.' Sung by Miss Nell Searcy, Chimney Rock, Rutherford county,
1927. A rare case indeed: while the ms score again gives Sutton-Wilder as
contributors, this time credit was given to the singer ! In I 55 this song is placed
among "Dramatic Games," whereas JAFL xl 18 classifies it under "Humor
and Satire." For a similar idea cf. SharpK 11 169, No. 134. Other versions:
JAFL XL 18-19; JAFL Lix 447; and CRS Kit P 5. Compare the beginnings
of G-9, G-14, and G-31.
G-4
i
g
i^
Laz
Ma
ry,
will
you
get up;
WiU
^^
^
m
you get up, will you get up? Laz - y Ma - ry, will
i
i
w
you get up; Will you get up
to
day?-
For melodic relationship cf. ***Gomme i 369 ("Marry-Ma-Tansa) ;
SFLQ VI 241; **JAFL xxviii 273-4 (general melodic line), JAFL xlix
254-5-
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: abac (2,2,2,2) =
aai (4,4).
Lady in the Dining Room
'Lady in the Dining Room.' Obtained from anonymous colored children in
Buncombe and Caldwell counties about 1927. The ms score gives Sutton-
Wilder as collectors. Cf. I 55 and OSC 70.
510
:St
NORTH CAROLINA FOLKLORE
Here sits
m
1^^
^
lad
in the din
ing
G-S
^
room,-
^
Sit - tin' by the fire, Head hung down, with an
S
^^
I
"^ ^
ach - ing heart;- Draw your chil - dren nigh - er.
Scale: Tetratonic (2,4), plagal. Tonal Center: f. Structure: abed (2,2,2,2);
the first measure of d is the same as the second of a.
Green Gravel
'Green Gravel.' Anonymous singer. No place or date given. The ms score
gives credit to Sutton-Wilder as collectors, but there is no credit for any
singer. Cf. I 56. For other varied texts cf. JAFL lix 439 ; CRS Kit J 12 ;
FSF 219. The beginning slightly resembles the tune of 'Mavourneen.'
G-6
^^
S
el, green grav - el; our dress is so green; AH
^^
ver ere - a - tion you're shamed to be seen. Dear
S
t
?
Mar - gret, dear Mar - gret, your true lov - er's dead; He
m
i:
^
let
wrote you a let - ter to turn back your head.
For melodic relationship cf. **Gomme i 170; JAFL xlii 220-21, measures
1-2 and 5-6; *SFLQ vi 211.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: aba^bi (2,2,2,2) =
aai (4,4).
FORFEIT OR PENALTY GAMES
Twelve Days of Christmas
'Twelve Days of Christmas.' Cf. I 70-1, For music cf. IV 129 score No
186.
Miss Susanna Jane
'Miss Susanna Jane.' Sung by anonymous Negro children in Forest City
Rutherford county. No date or contributor given. Cf. I 71. For additional
texts cf. APPS 318-19; HAS 35; BTFLS v 4-5; also 40-1, No. 2; JAFL
XXVII 291-2. Measures 3-8 resemble 'Dixie.'
G-7
fcs
^
Miss Sue, Miss Sue; Some - bod - y's
your
^
gti=?
lar,
Miss Sue, Miss Sue; some - bod - y's
your
i
; ; J^
lar. Miss Su - sie An - na Jane.
i
3-4
^
^
^, ^ ^ ^
^
Did you ev - er see a mon - key make a mo - tion, Miss
Scalej^ Hexatonic (4), plagal. Tonal Center: a-flat. Structure: aba^bc (2.2,2,
2,2) _ aaib (4,4.2) = mmin = barform; here, the epode is exceedingly
short. ^ -^
GAMES OF CHASE
Chase the Squirrel
'Chase the Squirrel.' Sung by children in Buncombe county, 1927. The ms
score again gives Sutton- Wilder as contributors; cf. I 80-1. For other varied
texts cf. JAFL xxv 271; xxvii 300; xxviii 266; lix 431; APPS 159-61;
Wolford 30-1; PTFLS xviii 104-5; SBPPG (Price) 122.
G-8
:2:
^^^
i
Let us chase the squir - rel Up the hick - 'ry, down the
*
S
m
hick-'ry; Let us chase the squir - rel Up the hick-'ry
tree,
§
Scale: Tetratonic (4). Tonal Center: d. Structure: abab^ (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
IMITATIVE GAMES
When I Was a Young Girl
'When I Was a Young Girl.' Sung by students of Woodfin School in Bun-
combe county, 1927. MS score gives Sutton-Wilder as contributors. Cf.
I 86. Compare also F-ii. For additional texts cf. NFSSLB 78-80; FSSG
86; AFSCh 168. All except measures 1-2 and 5-6 arc identical with those
of the German folksong: 'Ach Du Lieber Augustin.' (Compare here Gomme i)
362, second example) ; measures 3-4 and 9-12 are merely a reversal of 14-
15-
G-9
Sz
:±-t
^
When I was a young girl, a young girl, a young girl. Oh!
^
=F±
i^
when I was a young girl, oh, this way did
'Twas
way and that wav: Ohf
V 'III -^^
-#--#- -0- -0-
this way and that way and this way and that way; Oh!
i
5
^
w
^
when I was a young girl, 'twas this way did I.
For melodic relationship cf. **Gomme 11 362-63 (b) ; JAFL xxxiii 113-
14 ('Mulberry Bush') ; *GSAC 86, general melodic line of first three meas-
ures.
Scale: Hexachordal, plagal. Tonal Center: f. Structure: ababibba'bi (2,2,2,
2,2,2,2,2) = aa^ba^ (4,4,4,4) = Reprisenbar. All phrases cadence on I.
Green Trees Bending
'Green Trees Bending.' Anonymous singer, far up in the mountains of Mitchell
county, in 1927. MS score gives credit to Sutton-Wilder as collectors. Cf. I
87 ; also Newell 239.
514
NORTH CAROLINA FOLKLORE
G-IO
fa
i
t
-4^»
i±
-*-=-
■ ■ w~-
Green trees bend - ing, green trees bend - ing, green trees
fe
1
^
w
bend - ing, Hold to the side and swing to the back;
I
If you catch a pret - ty boy, back right back.
Scale: Irrational (2,4), plagal. Tonal Center: g. Structure: abacci (2,2,2,2,2)
= nmmi (6,2,2) = inverted barform.
Oats and Beans and Barley
A
'Oats and Beans and Barley.' Anonymous singer. No place or date given.
MS score gives Sutton-Wilder as contributors. Cf. I 87-9. For additional
texts cf. FSCSG 80; FSoA 135.
G-ii
ft=it
^
i
Down on the car - pet you must kneel, Down
I r r
^
:?=#:
-*— ^
on this car - pet you must kneel; Down on this car - pet
1
i
i
±=i.
you must kneel, Kneel to the one you love the best.
Scale: Heptachordal, plagal. Tonal Center: e-flat. Structure: abed (2,2,2,2).
'Oats and Beans and Barley.' Anonymous singer. No place or date given.
MS score gives Sutton-Wilder as collectors. Cf. I 87, For additional
texts cf. references to preceding version.
G-12
^^^
ifi:
0 0
Oats and beans and bar - ley grow; Oats and beans and
IMITATIVE GAMES
515
bar - ley grow; Do
you
^
an - y
r£
3E5E3
m
one know How oats and beans and bar - ley grow?
For melodic relationship cf. **FSoA 135, first four measures ; SFLQ vi
193-
Scale : Pentachordal. Tonal Center : g. Structure : aa^ba (2,2,2,2) = Re-
prisenbar. The tonal center is the lowest tone.
'Oats and Beans and Barley.' Anonymous singer. No place or date given.
MS score gives Sutton-Wilder as collectors. Cf. I 88. For additional versions
cf. references to G-ii. This is the only version of our collection with a
refrain. Measures 11-12 are a melodic quotation of 'Sailing, Sailing,' which,
considering the text, is quite appropriate.
G-13
5
ii:
See the farm - er plow his ground, Plow his ground,
1^
w
-N —
plow his ground; See the farm - er plow his ground So
i
i
ear - ly in the morn
ing.
Mer
ly mer - ri - ly
^
S
^
^
i
on, Mer - ri - ly mer - ri - ly on; See the farm - er
i
w
=3=F
plow his ground Mer - ri - ly mer - ri
ly
Scale: Hexachordal. Tonal Center: c. Structure: aba^cdeaci (2,2,2,2,2,2,2,2)
= aa^ba^ (4,4,4,4) == Reprisenbar. The tonal center is the lowest tone.
COURTSHIP AND MARRIAGE
GAMES
Ranchy, Tanchy, Teen
'Ranchy, Tanchy, Teen.' Anonymous singer of Chimney Rock, Rutherford
county, 1927. MS score names Sutton- Wilder as collectors. Cf. I 90 and
notes. Melodically and structurally closely related to 'Nuts in May,' G-22 and
'Here We Go Round the Mulberry Bush.' Cf. also EAS 21.
G-14
Group:
i
:?c
ife
^B^
"* — -3:
Here comes three dukes a
rid
in',
rid - in',
rid
in'; Here comes three dukes a - rid - in' For the
—J:
^
Ran - chy Tan - chy Teen. What are you a - com - in'
i
s
w
^=^.
ijr
here for? Here for, here for? What are you a - com - in' •
Dukes:
?
here for For the Ran - chy Tan - chy Teen.-
We are
^^^i^
com - in' here to git mar - ried, Mar - ried, mar - ried; We are
i
^m
m
-^ tr
SS^
I
ji==Mi
com - in' here to git mar - ried For the Ran - chy Tan - chy Teen.-
COURTSHIP AND MARRIAGE GAMES
SI7
For melodic relationship cf. ***FSoA 130; Owen 5; SBPPG (Price)
138-9; JAFL XLii 229; **Gommc 11 233; JAFL xxxiii 113, No. 33a and
129, No. 48a.
Scale: Irrational (4,6), plagal. Tonal Center: f. Structure: aa^aa^aa^
(4,4,4,4,4,4).
Hog Drovers
'Hog Drovers.' Sung by Jewell Robbins, Pekin, Montgomery county, 1922.
Cf. I 94. Our tune is almost identical with that of F-14. For additional
versions cf. Owens 65 ; OFS iii 555 ; Gomme 11 282-3 : 'Three Sailors' ; APPS
206; CRS Kit R 8: 'Five Tinkers'; BTFLS x 5-6, No. 3; JAFL xiii 104.
G-15
E
-^-i^
m
^
m
^* — • — =^
Hog — driv - ers, hog driv - ers, hog — driv - ers we air. A -
■ s N . )v I s N ^-
I^
ii=t:
court - in' your dar - ter
i
w
so sweet and so fair; And kin we git
^
^^
g
lodg - in' here, oh here? And kin we git lodg - in' here? —
Scale: Hexatonic (4). Tonal Center: c. Structure: abb^ai (2,2,2,2). The
tonal center is the lowest tone.
'Hog Drovers.' Sung by Otis Kuykendall, Asheville, Buncombe county, 1939.
Cf. I 98, I. Our first stanza is the only one belonging to this game-song.
The second is an incomplete version of the first stanza of HI 278, No. 250C;
the third stanza is a very close relative of the same stanza in 250C. Our
fourth and fifth stanzas are a new addition to this version. Strangely, the
last stanza returns to the last two lines of the third stanza mentioned above.
One stanza, at least partly, can also be found in 'Old Smoky.' For additional
versions cf. OFS iii 135, No. 404C; PTFLS xxvi 165; also MHITB 386
('Hog Drover's Song'). The editor states there that this song is traditional
in Texas and was brought by settlers from North Carolina. He lists it as a
folk tune from East Texas. Basically, our tune is the same as that of 'The
Drunkard's Hiccoughs,' OFS in 133-4, No. 404A.
G-16
g
rfi=^:
ii
-^-
Hog drov - ers, hog drov - ers, do you come here
5i8
NORTH CAROLINA FOLKLORE
7h>~f~
— fv—
i —
IN
~i ^~
— ^—
— ^
_,_
-^ h-
m P d
— :^ ^
^y b
^
— >■ —
i' -
court - ing our daugh-ters so neat and so fair? And you
^
-h-
can't get lodg - ing here,
Stanza 2
And you can't get lodg - ing here. —
^ft^n
— •-—
— • — •
— N—
■^
^~
1 P^
-J —
Ps FS
~i — * — f~
~~r —
* .
>•
— ^-
-T^
\^
— J^
— 1^
— fc'' —
Our hors - es ain't hun - gry they won't eat your hay, Our
^
r=f:
^
^
wa - gons are load
Stanza 3
ed and roll - ing a - way. Your
par - ents and fam - 'ly and fam - 'ly I'm told Say
^
all that I'm want - ing
part of your gold. Oh
rqt
=F=r=f^
^
Pol - ly, oh, Pol - ly, oh, how can you stay When the
t-
^-
K
wag • ons are hitched up and roll
Stanza 4
ing
way.
I'U
w
s
eat when I'm hun - gry, I'U drink when I'm dry,
PS V-
I'U
^
--i=
think of poor Pol - ly and sit down and cry. My
foot's in my stir - nip, my bri - die's in my hand, I'll
COURTSHIP AND MARRIAGE GAMES
519
^fr-
t=S--
go out
Stanza 5
a - court - ing and mar - ry
^ . — ^
— i ^ — ^ r^-i-
if
— ^v-
I
IV—
-J—
can.
— •
I'll
— 0
^^ ^ ^
^ -J. -^
1
— ^
tune up my fid - die, I'll ros
my bow, I'll
1
how can you stay,
When the wag - ons are hitched up and roll - ing a - way.
For melodic relationship cf. **JAFL xxviii 129; *APPS 206.
Scale : Mode III, plagal. Tonal Center : b-flat. Structure : abcc^ (2,2,2,2) ;
all phrases share the very beginning.
'Hogdriver's Ballad.' Anonymous singer. No place or date given on ms
score. Cf. I 98.
G-17
i
^
w
Hog drov - ers, hog drov - ers, hog drov - ers we are,-
AU
A J-
^^^
\>-^
court -in' your daugh - ter, so neat and so fair; Can- we get
i
i
^^
w
lodg - ing here, oh, here?- Can we get lodg - ing here?-
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure: abb^aicci
(2,2,2,2,4,4) = abed (4,4,4,4) ; the ending of a and the beginning of b are the
same, and so are the beginnings of c and d.
520
NORTH CAROLINA FOLKLORE
'Hog Drovers.' Sung by Mrs. Myra Barnett Miller in 1936. No place given.
The text is the same as that of Ethel Brown's 'Hog Drovers,' version H
(I 98). Cf. here OFS in 367, No. 555 'Hog Rovers.' For other versions cf.
APPS 205-6 ('The Nine Daughters'); GSAC 46-7 and 232-6; FTM 31;
Gomme 11 283; JAFL xxxiii 131, xxxrx 191-3 xlix 251 ('Two Tinkers')
and Lix 440.
G-18
i
±1
^
i
¥
Hog drov - ers, hog drov - ers, hog drov - ers are we, A -
m
^
W
?
^
court -ing your daugh-ter, so love - ly and fair; Can we get
i
t
I
lodg - ing here, oh, here? Can we get lodg - ing here? —
For melodic relationship cf. *Owens 65-6, last two measures.
Scale: Heptachordal, plagal. Tonal Center: g. Structure: aba^c (2,2,2,2) =
aai (4,4).
Skip to My Lou
'Skip to My Lou.' Anonymous singer. No place or date given on ms score.
Cf. I loi, A. For additional versions cf. BTFLS vi 13-14 (Tenn.) ; FTM 38;
Ford 240-1 ; EAS 3 ; CRS Kit R 10 ; and SFLQ viii 224.
G-19
=5F
^
Round
the
house.
skip
to
my
Lou;
^
Round the house, skip to my Lou; Round the house.
5fc:
I
skip to my Lou; Skip to my Lou my dar - ling.
For melodic relationship cf. ***Owens 86; OFS iii 287; APPS 259, chorus
only; SFLQ vi 233-6; AFSCh 166; SBPPG (Price) 100; JAFL xxiv 304,
XLii 203 and XLIX 245; CRS Kit R 10 ('Tuli-Lule') ; *OASPS 144, last two
measures.
Scale: Hexatonic (6), plagal. Tonal Center: f. Structure: aaab (2,2,2,2).
courtship and marriage games 521
Weevily Wheat
'Weevily Wheat.' Sung by Miss Beulah Walton. No place or date given.
Cf. I io6, F. In one version from Iowa we find "Waverly Wheat." Our
stanza is the third in the version given in JAFL xxviii 278-9. For additional
versions cf. JAFL xx 246; xl 98-9; lix 470; PTFS xiii 315-16.
G-20
^^
=1:
3. Char
ley
he's
fine
young
:?=^
^
Char - ley he's
dan - dy; Char - ley likes to
i
^
i
w
i=
--^--
kiss the girls And feed them lots of can - dy.
3E
^m
For melodic relationship cf. ***EAS, No. 28; AMS 86; **Owens 13-16,
measures i, 2, 4, 6; Wolford 102 (in minor!), measures 1-2 with our 1-4;
JAFL xxiv 302-3, measures 3-4 with our 5-6; *APPS 347; OFS in 298;
OASPS 148; SharpK 11 375, No. 267-A(in minor!); CRS Kit R 30 (in
minor!); JAFL xxviii 278-80; xlii 207-9 xliv 16-18, xlix 246 (all of the
latter, the initial measures only). The same is true of Ford 240 with the
necessary added remark that this version, musically speaking, represents one
of the most impossible notations encountered thus far.
Tonal Center : f. Structure : aba^c (2,2,2,2) =1
Scale : Heptachordal, plagal.
aai (4,4).
Nuts in May
'Nuts in May.' Sung by anonymous group of children in Chimney Rock,
Rutherford county. No date given. MS score gives Sutton- Wilder as col-
lectors. Cf. I no. For other versions cf. Bancroft 285-8; GSAC 89, 236-
7; JAFL XXXI 47-8 and 132, 147. Melodically and structurally our tune is
closely related to that of G-14.
G-21
fi:
w&
"Here we come, gath - er
ing
nuts
May,
I
Nuts
'^^m
-r-nr-!--
:tnq
in May, nuts in May; Here we come, gath - er - ing
522
NORTH CAROLINA FOLKLORE
nuts in May So ear - ly in the mom - ing."
For melodic relationship cf. **Gomme i 424-33; JAFL viii 178, a rather
amateurish notation (the tune omits our fourth measure), xxxi 178; and FGJ
49.
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abac (2,2,2,2)
= aai (4,4). All phrases cadence on I.
The Jolly Miller
'The Jolly Miller.' Anonymous singer. No place or date given. Cf. I no, A.
For other versions cf. JAFL xxxi 54, 146, xxxii 490-91, xxxiii 101-2,
XXXIX 193, XL 20, xliv is, xlix 446; SFLQ vi 214; Gomme i 289-93;
FSF 221.
G-22
i=t
^
The mil - ler, the mil - ler that Uves by the mill; The
t
s
^
wheel turns round with
free good will;
One
^
-A N-
^
hand on the hop - per and the oth - er in the sack;
^
yb=^
m
^
Now
the time
to
get your part - ner back.
Scale : Pentachordal. Tonal Center : e-flat. Structure : aba^b^ (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
King William Was King James's Son
'King William Was King James's Son.' Anonymous singer. No place or
date given. MS score credits Sutton-Wilder as collectors. Cf. I 113. For
other versions cf. FSoA 133; PSL 57; Ford 255; FTM 27-8; JAFL xl
249 and lix 446.
G-23
fe£
King Will - iam was King Jam - es's
son;
COURTSHIP AND MARRIAGE GAMES
523
i
zh:
'Round the roy - al race he run, He wore a star up
:|?
^
i
=F
^
i
on his breast And it was called The Star of West.
For melodic relationship cf. ***JAFL xxxiii 107; OPS iii 347, No. 543
F (observe the strange contraction of temporal values although the melodic
line still remains. Compare measures 3-6 with those of 'Owens' and others) ;
**Gomme i 302; Owens i; SBPPG (Price) 66, measures 2-3; SFLQ vi 217;
JAFL XXXIV III, measures 5-7 only; ibid., lii 48, No. 51.
Scale: Tetratonic (4). Tonal Center: d. Structure: abb^c (2,2,2,2). The
tonal center is the lowest tone.
King William Was King George's Son
B
'King William Was King George's Son.' Sung by Mrs. Beatrice Nye Suttle.
No place or date given. Cf. I 114 B. For other versions cf. Ford 255-6;
JAFL xxxiv III.
G-24
i
^
^^
^
King Will - iam was King Geor - ge's son; A - round the
£
^
roy - al race he'd run, On his breast he wore
star
^
^
Which was called a light a - far. Choose to the East and
'if=^
^ ^ N
fv
^t=^
»" ;' J
^
— ^ — D p\ 1 ^ ^ —
— • • :^ • ^ ^. —
choose to the West And choose the one that you love best.
It
-^ 0 '
If she's not here to take your part, Take the near - est
It
^
to your heart. Down on this car - pet you must kneel As
524
NORTH CAROLINA FOLKLORE
— N is ^
W
i:^
i:
sure as grass grows m
^ N i—
-1^ :^.
the field; Sa - lute your bride,
-N N N -
£
^
I
kiss her sweet As she ris - es to her feet.
Scale: Heptachordal. Tonal Center: c. Structure: aa^bcaai (2,2,2,2,2,2) =
aba (4,4,4) ; this is not a three-part song form in the generally accepted mean-
ing. TThe tonal center is the lowest tone.
Marching to Quebec
'Marching to Quebec' Anonymous singer. According to MS score collected
at Bostic, Rutherford county, by Sutton-Wilder. No date given. Cf. I 118.
For other versions cf. SBPPG (Price) 72; Newell 246. Our tune is closely
related to that of 'Barbara Allen.'
G-25
iJ:
^
We're march - ing on
to
Old Que - bee And
-^r-1^
i=^
5
^
±=k
loud the drums are beat -ing ;-
The Reb - els brave have
1
S
iri2=±
as
^^^
won the fight; The Yan-kees are re - treat -ing.
Scale: Mode III, plagal. Tonal Center: f. Structure: abed (2,2,2,2).
Marching Round the Levee
'Go in and out the Window.' MS score gives neither place nor date. Cf. I
120. For additional versions cf. GSAC 128; CRS Kit J n; Wolford 47-
8; JAFL Liv, lv 165; lix 438. Our tune is almost identical with F-75
('Marching Round the Love Ring').
G-26
1^
i
i
^
-^-^ ^
Go in and out the win - do w; Go in and out the win-dow;
I
Go in and out the win - dow, For we have gained the day.
COURTSHIP AND MARRIAGE GAMES
525
For melodic relationship cf. ♦**JAFL xxiv 306-7; xxvi 138; xlix 234-4;
**JAFL xLiv 12 ('Marching Round the Levee') ; SFLQ vi 194-5.
Scale: Irrational (4,6), plagal. Tonal Center: f. Structure: abac (2,2,2,2)
= aai (4,4).
Quaker Courtship
'Quaker Courtship.' Anonymous singer. MS score gives neither place nor
date. Cf. I 123 A. This version is similar to that of III 16-17, No. 8. For
additional versions cf. OFS in 56, No. 362 A; ASoWS No. 70; FSONE 277;
ASb 71; JAFL Lix 460; Lxvi 50; SFLQ v 182-3; FSF 378-9.
G-27
-y f>
N
y " ^
S '^
t(\ '\ 1
N
K
f\
^
... 1 1
1
XsT ^ A
U *
'
d
-0-
-#-
m
-#-
*
-^
Ma - dam, I come here a-court-ing, Oh, oh, oh;
=^
-^
^
-^
I'm
ear - nest, I'm not sport - ing, Oh, oh,
oh.
You sit there and court the fire; — Ting-a-Hng a ting -a
ling a ting-a-Ung a tire;- That a- lone is my de - sire,-
i
^
-A-
-^^-ir
tJ -0-
Ting - a
ling a ting - a - ling a ting - a - ling a tire.
For melodic relationship cf. **BSSNS 380 and 408.
Scale : Heptachordal. Tonal Center : c. Structure : aaibb^bic (4,4,2,2,2,2) ;
one could analyze this as over-all form: mm^n (4,4,8) = barform. The
tonal center is the lovirest tone.
Green Leaves
A
'Green Leaves.' Sung by Miss Jewell Robbins, Pekin, Montgomery county,
in 1921. Cf. I 124. For additional versions cf. SBPPG 46; FSF 208-9
('Sweet Pinks and Roses').
526
NORTH CAROLINA FOLKLORE
G-28
W
Green leaf, oh, green leaf that grows on a vine; Go choose
:r
you
a part - ner, the pret - tiest you can find. Hon - ey
£
5
^
in the gum so sweet, so sweet, Love is bound to be.
Scale: Hexatonic (6), plagal. Tonal Center: g. Structure: aaab (2,2,2,2),
'Honey in the Gum.' Sung by Miss Jennie Belvin, about 1921. No place
given. Cf. I 125 B. For related versions cf. Owens 76; Wolford 49-50;
APPS 203; PTFLS XIII 321-3.
G-29
^
:S^^
BE
Green leaves, green leaves grow on
the
vine;
E^
?
-N ^—
3^1^
Go choose you one
have mine. Hon-ey in the
^^
gum so sweet, so sweet;- Hon - ey in the gum
^
sweet.
sweet; Hon - ey in the gum.
i
-N-
^
^
sweet, so sweet, Joy is boimd to be.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: abcc^c^d (4,4,2,
2,2,2) ; the ending of a and the beginning of b are closely related.
COURTSHIP AND MARRIAGE GAMES
527
'Green Leaves, Green Leaves.' Sung by Miss Beulah Walton. No place or
date given. Cf. I 125 C. In the general melodic line our tunc is closely related
to that of G-29. For additional versions cf. APPS 203; Owens 76; Wolford
49-50; PTFLS XIII 321-2.
G-30
2=:t
^ •
Green leaves, green leaves grow
the
vine;
i
l^
^
-tr
^
■^it-
Go choose your part - ner as I have mine. Hon - ey in the
i
p^
J' ; J' ;■
gum so sweet, so sweet; Hon - ey in the gum so
I X -J^^^
sweet, so sweet; Hon - ey in the gum
i
i
sweet, so sweet. For joy there's bound to
be.
Scale: Hexachordal. Tonal Center: c. Structure: abcc^c^d (4,4,2,2,2,2); the
ending of a and the beginning of b are closely related. The tonal center is
the lowest tone.
It Rains and It Hails
A
'It Rains and it Blows.' Sung by C. K. Tillett, Roanoke Island. No date
given. This must have happened in 'Dixie' ; cf. the first four measures ! Cf.
I 127. For additional versions cf. SharpK 11 380, No. 271; PSL no.
G-31
S
S
5^
E
5
it=i!
It rains and it blows and it's cold storm -y weath-er;
q?=f:
%
:f=f:
In comes the farm - er drink-ing hard ci - der. You'll be the
528
NORTH CAROLINA FOLKLORE
l!^=f:
S
reap - er, I'll be the bind - er, I've lost my true love and
3E
^^
don't know where to find her. Up on — — high.
Scale: Irrational (2,4), plagal. Tonal Center: f. Structure: abed (2,2,2,4)
d is terminally incremented.
'It Snows and it Blows.' Sung by Miss Jewell Robbins, Pekin, Montgomery
county. No date given. Cf. I 127. For other versions refer to those cited
for G-31. Add to these JAFL xxxiii 103; CRS Kit P 13 (chorus).
G-32
i
^m
^=^
S
:P=P:
^
fe>=4=J
It snows and it blows, and it's all sorts- of weath-er; —
^
■f—t-
A - long comes the farm - er with his jug of ci - der.
i
J- ! J'
S
You'll be the reap - er, and I'U be the bind - er,-
For
il
i
E
*
^
s
I have lost my true love and don't know where to find her.
For melodic relationship cf. **JAFL xxxiii 103, first four measures with
our first eight; *JAFL xxviii 270, measures 1-2 and 5-6.
Scale: Hexachordal. Tonal Center: d. Structure: aba^ca-bd (2,2,2,2,2,2,4)
= aa^a^b (4,4,4,4). The tonal center is the lowest tone.
RiG-A-JiG
'Rig-a Jig-Jig.' Sung by Riddick. No place or date given. Cf. I 128. It
is interesting to find our stanza to be the same as that in 'Buffalo Gals' (but
without the "Heigho") found in OFS iii 332, No. 53S-B. Our tune is a typical
German melody. The refrain quoted by BT 197 as belonging to 'Captain Jinks'
cannot be found in our version of the latter song, but it does constitute the
whole of our present version.
courtship and marriage games
Chorus
529
4^
^m
Rig a jig jig and
way we go,
«5Ea
i
way we go, a - way we go; Rig a jig jig and a -
I ^ ^ — N — ^
w
way we go.
i
BE3:
Heigh - ho ; heigh - ho !-
heigh - ho!-
Heigh
ho; heigh-ho! heigh-ho! heigh-ho! Heigh-ho; heigh-ho!
S
r r T'
heigh - ho! heigh - ho!
Rig
=K
I
Jig
jig and a -
^=^
heigh - ho.-
way we go. Heigh - ho; heigh - ho!-
For melodic relationship cf. ***SBPPG 90.
Scale: Heptachordal, plagal. Tonal Center: c. Structure: abacbbac (2,2,2,
2,2,2,2,2) = aaibai (4,4,4.4) ; b is related to a. Over-all form : Reprisenbar.
The tonal center is the highest tone.
Little Sally Waters
'Sally Walker.' Anonymous singer. No place or date given on Ms score.
Cf. I 130. For other versions cf. FSF 215. Measures 5-8 and 13-16 recall
'Yankee Doodle.'
G-34
r?
±=t
Lit - tie Sal - ly Walk
?
er,
sit - ting
i
^
^
sau - cer, Cry - ing and sigh - ing for
some young
530
NORTH CAROLINA FOLKLORE
i^
^
-ir
and
to
Oh, rise, Sal - ly.
:^^=P^
-St
wipe your weep
ing
eyes;
Fly
to the East and
??
I
1=^
^
^
' -I ^
fly to the West, And kiss the one you love the best.
For melodic relationship cf. ***JAFL xxxi 159-60; no chorus in our
version ; **FSoA 147, first six measures.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : mm^noo^p (2,2,4,
2,2,4) = barform plus barform (compound structure).
'Little Sallie Waters.' Sung by Miss Jennie Belvin, Durham, 1921 or 1922.
Cf. I 130. For another version cf. FSoA 147. The last four measures re-
call 'Yankee Doodle.'
G-35
i
52:
i:
w
i
Lit - tie Sal - ly Wa - ters. Sit - ting in
cor - ner,
5=^
S
^ ^
Eat - ing bread and hon - ey, Rise, Sal - ly, rise!
r=^
3
^
^
- — ^— ir
Wipe out your eyes! Fly to the East, fly to the West,
/ • a/—
--# ^ ^ ^
Fly to the dear - est one that you love the best.
For melodic relationship cf. **JAFL xxxi 159-60.
Scale : Heptachordal, plagal. Tonal Center : f. Structure : aa^a^bbibbc (2,2,2,
2,2,2,2,4) = abc (8,6,4) ; b is very closely related to the ending of a, c only
slightly so.
Go Round the Mountain
'Go Round the Mountain.' Anonymous singer. No place or date given. Cf.
I 131 A.
COURTSHIP AND MARRIAGE GAMES
531
G-36
i2
4=^
^
^
Go round the moun - tain,
two
by
two; Go
m
round the moun - tain, two by two; Go round the
ii=*:
iE=fe
qt
S
m
moun - tain two by two, Rise up, sug - ar, rise.
Scale: Irrational (4,6), plagal. Tonal Center: g. Structure: aa^ab (2,2,2,2).
Little Sissy
'Little Sissy.' Anonymous singer, about 1927. No place given on ms score,
which names Sutton-Wilder as collectors. Cf. I 132.
G-37
it
Oh, bow and bow, put your arms a - round me;
i
^
^
1^
Say, lit - tie Sis - sy, won't you mar - ry me? Oh,
i:
^
Ut
bow and bow, put your arms
round me. All those
m
tz
m
sas - sy words you say. Oh, bow and bow, put your arms .. a
i
w
^
:^
^
i
round me; say. Lit - tie Sis - sy, won't you mar - ry me?
Scale: Heptachordal, plagal. Tonal Center: g. Structure: abaca^b (2,2,2,
2,2,2) = aa2ai (4,4,4). Measures 7-8 recall 'Yankee Doodle.' sfi is con-
siderably more of a variation of a than ai; for this reason the latter was
placed last.
TUG OF WAR GAMES
London Bridge
A
'London Bridge.' Anonymous singer. MS score gives Sutton-Wilder as
collectors, but no place or date. Cf. I I37 A. For additional versions of.
FSCSG 84; Wolford 64-5; JAFL lix 450.
G-38
Or.. . - T" ' ^^ ^ ' ' ' ^
S&^C
^
Lon - don bridge is fall
-fv
5=3C
ing dov7n, fall - ing down, fall - ing down;
— N
-^—
: j.i'-'Mi
Lon - don bridge is fall - ing down, my fair la - dy.—
For melodic relationship cf. ***Bancroft 360; SFLQ vi 232; Gomme i
333-50.
Scale: Hexachordal. Tonal Center: f. Structure: abac (2,2,2,2) = aa^
(4,4). The tonal center is the lowest tone.
K
'London Bridge.' Sung by Miss Eura Mangum. No place or date given. Cf.
Vol. I 138. For the first line cf. SFLQ vi 232: 'Heimskring la.' For ad-
ditional versions cf. Bancroft 360; VFSB 45; Wolford 64; JAFL xxxvin
243. „
G-39
:2:
-^^-^
^
^
Lon - don bridge is bro - ken down, Where shall my la - dy be?
I
^
P=j^.N^-^-r~^
-J- -j-
j- -J.
Lon - don bridge is bro - ken down For the gay-
Stanza 2 1 A
la
dy.
^^-^Jr
N-
'> -J- -J-
TUG OF WAR GAMES
533
Scale: Hexatonic (4), plagal. Tonal Center: f. Structure: abac (2,2,2,2)
= aai (4,4).
2nd stanza:
How shall we mend it up again ?
Where shall my lady be ?
How shall we mend it up again
For the gay lady?
Draw a Bucket of Water
A
'Draw a Bucket of Water.' Anonymous singer. No place or date given on ms
score. Cf. I 142 A. For additional versions cf. Bancroft 345; Gomme 11
418; GSAC 90-1; Tanner 66-7; OSSG 39-
G-40
i
^g
^
W
4=?
1
Draw
buck
et
of
ter
-t—^
For the la - dy's daugh - ter; One ba - boon and
P
sil - ver spoon, So Miss —
For melodic relationship cf. **OSSG 39.
creep
der.
Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: aaba (2,2,2,2)
Reprisenbar. Circular tune (V).
'Draw a Bucket of Water.' Sung by Miss Jennie Belvin. Durham, 1922.
Cf. I 142-3. Except for the ten measures omitted in the middle section,
our tune is practically identical with that of G-34. As there, the last four
measures are an unashamed 'Yankee Doodle.'
G-41
I
r#:
Draw
buck - et
of
ter
g=}5:
^
For my sis - ter's daugh - ter, One
a cup and
534
NORTH CAROLINA FOLKLORE
i:
■^
^
^
two in a cup, And draw Miss — —
For melodic relationship cf. ***OSSG 39.
der.
Scale: Heptachordal, plagal. Tonal Center: f. Structure: mmin (2,2,4) =
barform.
GAMES OF SMALLER CHILDREN
Frog in the Middle
'Frog in the Meadow.' Sung by P. Webb, Pineola, Avery county, about 1921.
Cf. I 145; also V, F-186 ('Bull in the Meadow') first two measures; compare
here JAFL xxvi 140; also TNFS 130.
G-42
-7-^ — ^-
s^ fj f\ ^ — 1
T^ r^ ^^ *^ w
/A
1^ 1^ n
J _i^ _i^ f\ 1^
t(\ i ^
* ^ * J
• • *^ « J
V-> 4-
' ' • d
•^ 4 '
Frog
in the mead - ow, Can't get him out; —
f ^
^ ^ IJ K \
r ro h: ^ x 1
/ _i^
N _N N ~ ^
J _i^ _P K r ■'
If ^ •
» m m ^
m • • J J
1
\s) • •
tJ
'*■■'
Take a lit - tie stick And stir him a - bout.-
Scale : Trichordal. Tonal Center: f. Structure: aa^ (2,2). The tonal center
is the lowest tone.
Farmer in the Dell
'Farmer in the Dell.' Anonymous singer. No place given. Collected probably
by Sutton-Wilder about 1927. Cf. I 147. Observe the close relationship with
the German folksong 'Was Kommt dort von der Hoh ?' ; also with G-48. For
other versions cf. JAFL viii 254-5; xxxi 51-2; XL 25; lix 436; Florida (21)
296-7; EPG 137.
G-43
-4 « • « •-= — 4-
-^^
^-4-
-#-=-
The farm-er in the dell; The farm-er in the dell; —
g^a
Hi oh the dai - ry oh, The farm - er in the dell. —
For melodic relationship cf. ***Bancroft 347-8; OSSG 35; SFLQ vi
5; JAFL XXXI 160.
536
NORTH CAROLINA FOLKLORE
Scale: Mode HI, plagal. Tonal Center: g. Structure: mmin (2,2,4) =
bar form.
'Farmer in the Dell.' Sung by J. T. C. Wright, Boone, Watauga county, about
1922. Cf. I 147 B. The singer, deviating from the printed text, replaces the
third line with a similar one from version K ; again, however, changing "dairy-
o" to "cherry-o."
G-44
:^=^
The farm-er in the dell; The farm- er in the dell;
i
Heigh - o the char - ry O The farm
For melodic relationship cf. ***SFLQ vi 186;
er in the dell.
OSSG 35-
Scale: Mode III, plagal. Tonal Center: g. Structure: mm^n (2,2,4) =
barform.
Ring Around the Rosy
'Ring O Roses.' Anonymous singer. MS score gives no place or date, but
names Sutton-Wilder as collectors. Cf. I 151. Our text is not identical with
the Johnson text as stated there. The title given also differs from that in
I 151. For other versions cf. Ford 254-5; JAFL lix 461. This tune is al-
most entirely the same as that of an old drinking song : 'Hoch soil er leben.'
G-45
^
tek
#=t
Ring, O ring, O
ses,
pock - et full of
^
E
pes - ies; One, two, three, four, We'll all turn - ble down.
For melodic relationship cf. *FSONE 50, first two measures only.
Scale: Triadic, plagal. Tonal Center: g. Structure: mm^n (2,2,4) = barform.
DANCING GAMES
Bingo
'Bingo.' Anonymous singer. MS score gives no place or date but names
Sutton-Wilder as collectors. Cf. I 154. Our version is similar to III 187,
No. 137- For other texts cf. SBPPG 10; FSONE 168; CRS Kit P 15-16
and 57 (our version is like the Ohio version given there) ; also Kit R 81.
A^^^
— r^
^
^
F=?=
=?^
G-46
— \
f ^ ^ 4 j^
¥
— 1 —
— 0 —
Pv
1
— • 1
9
tt
^
There was
farm - er
had
dog;
^^
:e=(t
Bin - go was his name, sir. B - i
g - o, go;
*=fc:
I
3tz:
B - i - n - g - o, go; Bin - go was his name.
For melodic relationship cf. ***JAFL xxxiii 93-4 (measures 5 and 10 are
omitted) ; **Gomme i 29 (with some omissions) ; CRS Kit R 81.
Scale : Heptachordal, plagal. Tonal Center : a.
= ab (4,6) ; b is internally incremented.
Structure : abccd (2,2,2,2,2)
Going Down the Railroad
'Coin' Down the Railroad.' Sung by Negro children at Forest City, Ruther-
ford county. No date given. MS score names Sutton-Wilder collectors.
Cf. I 155. Our tune requires two stanzas of the text given there. For another
version cf. APPS 176-7, stanza five.
G-47
i
*
^
Go
down the rail - road
Do-
do— do.
Oh
i
^^
^EE^
W
Sal
ly, won't you mar - ry? Do — do —
do.
538
NORTH CAROLINA FOLKLORE
i
^
:fc
l¥.
^
Ole Miss Ki - ser goin' to turn all a -round; Ole Miss
I
F j^ I ; j^ I
^
-^ — ^ — ^ — ^- ' * ' — ' — w — —w-
Ki - ser goin' to turn all a-round; Do — do — do — do — do.
Scale: Hexatonic (4), plagal. Tonal Center: g. Structure: aba^bcc^d (2,2,2,
2,2,2,2) = aa^bc (4,4,4,2). Taking a and a^ as Stollen and be as epode, we
have mmin (4,4,6) = barform.
Looby Loo
'Looby Lou.' Anonymous singer. MS score gives no place or date, but names
Sutton-Wilder as collectors. The first half of the stanza is identical with that
of the C version. The chorus of the latter, however, is missing. Cf. I 156
A. The German descent of our tune becomes clear if we compare it with
'Was Kommt dort von der Hoh?' as well as the old German drinking song:
'Hoch soil er leben.' Cf. here also G-43 and G-44. For related versions cf.
FSF 223-4; JAFL xxrv 312-13 (second stanza); xxxii 496; xxxiii iio-ii;
XL 25 ; Lix 450.
G-48
i
iT^h^-
*:
ife
*:
put my right foot in;
put my right foot
i
^
T
-V — '
out; I give my right foot a shake, shake, shake, And
i
; ; i'
*:
^^t
turn my - self a - bout. Here we dance Loo - by
i
t:
:r^-^
^
3
^^s
Lou; Here we dance Loo - by Light; Here we dance
1=^
; J /
I
s
Loo - by Lou Ev - 'ry Sat - ur - day night.
For melodic relationship cf. ***CRS Kit J 16; **Gomme i 352-61, general
melodic line.
Scale: Hexatonic (4), plagal. Tonal center: g. Structure: aa^bcc^cd
(2,2,4,2,2,2,2) = mm^nop (2,2,4,4,4) = compound structure: barform plus
strophe.
MISCELLANEOUS GAMES
Happy Land
'Happy Land.' Sung by Negro children. MS score gives no place or date,
but names Sutton-Wilder as collectors. Cf. I 159.
G-49
TJ PS .
^
^
m^
want some peas and I want some rice, Oh
^
^
^
Hap
py
Land
want some pret - ty girl
to
^m
I
^^
be my wife, Oh Hap - py Land.
Scale: Tetratonic (4), plagal. Tonal Center: g. Structure: abab^ (2,2,2,2)
= aai (4,4).
TEASING RHYMES
Oh, Dear Doctor
'Oh, Dear Doctor.' Anonymous singer. MS score gives no place or date,
but names Sutton-Wilder as collectors: Cf. I 177. Our tune is identical with
that of 'Little Brown Jug.' For an additional version cf. NYFLQ viii 54.
G-50
i
^
^
s
^ #
^
Oh, dear doc - tor, can you tell What will make poor Ma - ry well?
*:
^^Pi
^
S
She is sick and she might die; That will make poor — — cry.
Scale: Irrational (2,3,4), plagal. (In the Greek sense, this would be the first
tetrachord of the Ionian mode). Tonal Center: c. Structure: abab^ (2,2,2,2)
= aai (4,4). The tonal center is the highest tone.
DERISIVE RHYMES
Nigger, Nigger, Never Die
'Nigger, Nigger, Nigger, Never Die.' Sung by Mrs. W. L. Pridgen. No
place or date given. This is a fragment which breaks ofif with the fifth
measure. Cf. I 179.
G-51
i
^
^^
:^=it
^
Nig
ger,
nig
ger,
nig
ger
die
i
p
1=^
^=^
Big flat nose and a shin - y eye.
Scale : fragmentary. Tonal Center : uncertain, possibly c
abed, but it is not possible to be certain.
Mouth
as big
Structure : probably
LULLABIES
Baa, Baa, Black Sheep
'Baa, Baa, Black Sheep.' For musical score cf. F-118 above. Cf. I 183.
RECITATIONS
'Old Raccoon.' Anonymous male singer with banjo accompaniment. No place
or date given. Cf. I 194. For other versions cf. APPS 296, No. 88B ; OFS
II 361, No. 280; also III 133, No. 97, second stanza ('Uncle Joe cut off his toe') ;
JAFL XXIV 318 and xxvii 294-5. Our tune is a close relative to that of
'Goin' Down Town' (Lunsford).
Old Raccoon
G-52
1
^^
■±-
2. Pos -sum up a gum stump, Coo-nie in the hol-ler; —
i
w
-ir.
Lit - tie gal at dad-dy's house As fat as she can wal-ler.
Stanza 2
* ^ ^
^-
turn - ing round and round
^^
I
^
For melodic relationship cf. *APPS 296, No. 88A, first two measures ;
ASb 145, measures 2-4.
Scale: Hexachordal. Tonal Center: g. Structure: abed (2,2,2,2) = ab (4,4).
The tonal center is the lowest tone.
MISCELLANEOUS RHYMES
Granny, Will Your Dog Bite?
'Granny, Will Your Dog Bite?' Cf. I 200 'Chicken in the Bread Tray.' For
musical score cf. F-163, above.
A Parody
'A Parody.' Anonymous singer. MS score does not give place or date. Cf.
I 200. This is supposedly a parody on the prayer, of which this version gives
the first two lines. Cf. Wordsworth's: "The Redbreast" (1834-35) lines
46 ff.; also EFSS 74 ('Evening Prayer'), and JAFL lix 452.
G-53
iS
^=^
?
j^; I ; j^
Mat - thew, Mark, Luke and John Bless the bed that
i
ff
i
N— ^
— ^ H P, N
J ^ J ^7-^
w
-* »-^r-S
I lie on.
i
i
-A— f^-^
m
atii:
0 0
5 ^S N
^
:irr^
• * s
Scale: Mode III. Tonal Center: c. Structure: abcb (4,4,4,4). The tonal
center is the lowest tone.
Rain Come Wet Me
'Rain Come Wet Me.' For text cf. I 203. For musical version cf. F-447,
above.
Run, Nigger, Run
'Run Nigger Run.' For text cf. I 203-4. For musical version cf. F-420, above.
Go Tell Aunt Rhoda
'Go Tell Aunt Rhoda.' For text cf. I 204-6. For musical version cf. F-14S,
above.
ADDITIONAL GAME SONGS
All Around the Ring
'All Around the Ring.' A play party song. Anonymous singer. MS score
does not give place or date, but names Sutton-Wilder as collectors. Cf.
APPS 336 No. 112: 'Turn, Cinnamon, Turn.' Judging from our text, somebody
must have used the familiar "Sinner man" in the refrain and someone with a
lazy tongue, or merely misunderstanding this, sang "cinnamon" instead. Cf.
also 'Turn, cheeses, turn,' in Gomme 11 3"-i2; Newell 231; FSF 220; Owen
97-8; TNFS 142; CRS Kit 54, 131 ('Green Coffee'); JAFL xxx 218 and
SharpK 11 289, No. 208 A. Another title given: 'Sugar Lump.' For very
evident reasons concerning the singability of measures 5-7 with relation to the
natural tempo of the preceding phrase the time values of these measures were
altered (quarter for an eighth note).
G-54
i
^^
m
All round this ring my hon - ey, All round this ring we
^
go.
Some
bod - y's
rock - ing
my
su -
gar
ump, Some -
y \ 1 ^ ^ 1
1 .
X 1 1^ 1^ !
1 1
ifn m
^
.J ^
# _
_i 1 1 1
1 '
\^.\) 9 ■m - -
*
«
9
S 4
tJ
V
bod - y's rock - ing my su - gar lump. Some bod
ys
t^
i
rock -ing my su - gar lump, Turn, sin - ner, turn.
Scale: Tetratonic (4), plagal. Tonal Center: f. Structure: abcdcbi (2,2,2,
2,2,2) = abb^ (4>4.4) = nmmi =: inverted barform ; n and m^ have the
same ending.
Flute Song
'Flute Song.' Sung by Mrs. R. D. Blacknall. Frank C. Brown notes: "as re-
called from memory, set down by Miss Alice Hundley." Recorded at Durham
in 1922 or 1923. Newman I. White states: "Miss Hundley was a musician
who sang in concerts for Dr. Brown and (I think) made a number of musical
transcriptions from records about 1920- 1925."
546
NORTH CAROLINA FOLKLORE
i
S
G-55
^
N S
S
Flum-mer-ly la lup, flu flu Flu lup, flu lup, flu lup,
I
^
Flum - mer - ly la lup, flu flu Flu lup, flu.
Scale: Irrational (4,5,6), plagal. Tonal Center: f. Structure: aa^ (2,2).
Here We Go in a Ring
'Here We Go in a Ring.' Sung by Miss Beulah Walton. No place or date
given. This song belongs to the "Courtship and Marriage Games," cf. I 89-
133- For other versions cf. Owens 63; GSAC 59-62 and 240-1; APPS 186
B; Wolford 43-4; ASb 160; JAFL xiv 297-8; xxxii 495; xlix 250-1.
G-56
Here
go
ring so straight; Now it's
i=it
^
time
for choos - ing your mate; Choose the one that
:fc
you love best, And I'm sure it'll suit the rest.
Scale: Mode III, plagal. Tonal Center: b-flat. Structure: abed (2,2,2,2).
Mary's Mad
'Mary's Mad.' Anonymous singer. No place or date given on ms score, which
credits Sutton-Wilder as collectors. Compare ANFS 117; also III 661-3, No.
624 (F-537) and I 175, ' Is Mad.'
G-57
teg
m
i^
Ma - ry's mad and
am glad and I know
i
m
it
what - 'II please her.
hot - tie of
to
ADDITIONAL GAME SONGS
547
i^
EE
m
I
make her shine and — — — to please her.
Scale: Hexatonic (6), plagal. Tonal Center: e-flat. Structure: abac (2,2,2,2)
= aai (4,4).
Miss Lucy
'Miss Lucy.' Anonymous singer. No place or date given on ms score, but
Sutton-Wilder are given credit as collectors. For melodic similarity cf.
'Everybody Works but Father.' For slightly related text cf. Ill 124, No.
86, second stanza. The name 'Lucy Long' occurs in 'Take Yo' Time, Miss
Lucy,' RAS 134. For other versions cf. Texas FS 241-2; MSON 18, 140,
and 155; EAS 35; ASb 132; FSoA 120, second stanza; APPS 318-19; JAFL
XXVII 291-2; CRS Kit 48, 17 and Kit 53, 19.
G-58
^E
rf
:;^
^=t
went to
Miss Lu - cy;
I'd
±1
^
m
been there be
fore.
Last —
time
saw Miss
i
w
t> h r-
^
S
Lu - cy
She
roll
the floor.
Scale: Hexatonic (4), plagal. Tonal Center: b-flat. Structure: abed (2,2,2,
2).
Peas in the Pot, Hoe Cake A-Bakin'
Teas in the Pot, Hoe Cake A-Bakin.' MS score states: "Sung by W. J.
Miller, student at Trinity College, Durham, December 5, 1919." For other
versions cf. I 201 'Wake Up, Jacob'; ANFS 304; AMS 104; GSAC 132.
G-S9
^
i:
Peas in the pot, hoe - cake a - bak - in'; Sal - ly
i
^
f==t^
w
in the kitch - en with her shirt - tail a - shak - in'.
Scale: Tetratonic (2,4), plagal. Tonal Center: c. Structure: aa^aSb (2,2,2,2).
Circular tune (V). Tonal center is the highest tone.
548
north carolina folklore
Roll
'Roll.' Anonymous singer. No place or date given on ms score. For another,
but varied text, cf. JAFL xxxiv 114.
G-60
f^^^^^^
:^
Roll, roll un
der, We know how
to
roll.
i
Roll, roll un
der, We know how
to
—(Si-
roll.
Stop right still and roll. We know how to roll.
^^
I
-<s>-
=?
. Stop right still and roll. We know how to roll.
Scale: Irrational (4,6), plagal. Tonal Center: e-flat. Structure: aaiba2ba3
(3,3,2,2,2,2). Over-all form: nmmi (6,4,4) = inverted barform. Comparison
of the cadence in measures 5-6 with the final cadence shows the pernicious
influence of the belief in the inevitability of the leading tone.
Steal Aw^ay
'Steal Away.' Sung by Miss Allie May Jones, from Rutherford county. MS
score gives no exact place or date but names Mrs. Maude M. Sutton as
collector. This song belongs to the "Courtship and Marriage Games." For
other versions cf. APRS 318, No. 103; PTFLS i 25; CRS Kit 48, 24 (third
stanza).
G-61
^
-^
^
Steal
way,
rang tang doo - lay. Steal a -
i
— I n r
■ — • • w i^f — ^--^ ij: ' — ' — '
way, rang tang doo - lay. Stole my pret - ty girl, rang tang
i
I
^^
=1=
—^ — ^
doo - lay, Stole my pret - ty girl, rang tang doo - lay.
Scale: Mode III. Tonal Center: c. Structure: aa^bb^ (2,2,2,2) = ab (4,4).
The tonal center is the lowest tone.
additional game songs 549
Shoe My Lovk
'Shoe My Love.' Anonymous singer. MS score does not give place or date.
For other versions cf. APPS 305-8; PTFLS xiii 329; RaW 63-4.
G-62
^
S
Lei - la that's shoo my love, Lei - la that's shoo my love.
i
^E^E^
^-
=t
Tum me in a hur - ry now. Shoo Dol - ly, shoo my love,
m
^
S
--^=^
^
Turn me in a hur - ry now. Shoo Dol - ly, shoo my love.
Scale: Pentachordal. Tonal Center: c. Structure: aa^bcbci (2,2,2,2,2,2) —
nmmi (4,4,4) = inverted barform. In the smaller subdivision, the ending of
c is the same as that of a; likewise that of c^ and a^. The tonal center is the
lowest tone.
TOONEY O
'Tooney O.' Anonymous singer. MS score does not give place or date.
Catalogue gives "score by M. Wilder."
G-63
^
«
Too - ney, Too - ney, my Too - ney O. She hopped up -
i
It
J
^
^
her po - ny And ran a - way from Ton
^
.-fc
If
you
see her just let
know and I'll
i
I
m
meet you
the Sal - ly Too - ney
O.
Scale: Hexachordal, plagal. Tonal Center: e-flat. Structure: abb^a'c (3,2,2,
3,4) =r nmm^no = inverted barform, plus strophe (compound structure).
The elisions in measures 3, 5, and 10 are quite evident.
550
north carolina folklore
True Love
'True Love.' Anonymous singer. MS score does not give place or date,
but names Sutton-Wilder as collectors. For another version cf. JAFL lix
468.
G-64
i
r^=j^
Tell me who's your true love. Fare ye well. Oh,
::f^
:^
Ih
tell me who's your true love. Fare ye
(Spoken)
well. She
:1^
4t
^
tc
told me who's her true love
(I did -n't, did-n't) She
(Spoken)
?
told me who's her true love.
(I did - n't.
did- n't).
i
S
s
Let's stamp him down, let's stamp him down.
Scale : Mode in, plagal. Tonal Center : f. Structure: ababkcd (2,2,2,2,3,2) =
aa^b (4,4,8) = mm^n = barform. Circular tune (V).
Wind That Ball
'Wind That Ball.' Anonymous singer. MS score does not give place or
date. Same title is mentioned in PTFLS i, 36.
G-6s
I
S
^
it
We're goin' to vnnd this ball Oh Gean, oh
B
i
Gean, We're goin to wind this ball oh Gean.
Scale: Mode IH, plagal. Tonal Center: g. Structure: aa^ (5,5); both
phrases are terminally incremented.
additional game songs
Yes, Ma'am
SSI
'Yes, Ma'am.' Anonymous singer. MS score does not give place or date,
but names Mrs. M. M. Sutton as collector. For other versions cf. TNFS
141-2; FSoA 95.
G-66
^
1^
:2=t
=^=?
'Lit - tie girl, lit - tie girl.' 'Yes, Ma'am.' 'Have you
-. f- — * — -^ N- — -1—
-i r^^
been
ver the riv - er?' 'Yes, Ma'am.' 'Have you
been to the church?' 'Yes, Ma'am.' 'Have you heard Aunt
rtzir
Di - nah sing?' 'Yes Ma'am.' 'How do she go?' — 'Too lay
I
3e:
loo lay. Too lay low lay, Too lay low la low.' —
For melodic relationship cf. **AFSCh 74; the larger part of our song
consists of a repetition of the first two measures of 'Go on, old 'Gator.'
Scale: Irrational (2,4), plagal. Tonal Center: f. Structure: aa^b (4.4.6) =
mm^n =: barform ; a as well as a^ are made up of slightly varied repetitions on
the first two measures. The accentual awkwardness in the text of the fifth
measure would suggest that there was an alteration of the text that probably
fit the rhythmical scheme of the music better.
APPENDICES
A. Musical Analyses of the Folk Songs and the Games
B. Scales of the Folk Songs and the Games
APPENDIX A
MUSICAL ANALYSES OF THE FOLK SONGS AND GAMES
Scales
Folk
Songs
Additional
Songs
Games
Additional
Games
Total
Plagal
Non-plagal
389
162
92
36
36
16
II
2
528
216
Modes and
Scales
Folk.
Additional
Additional
Name of Mode
Songs
Songs
Games
Games
Total
Ditonic (2)
I
Duotonic (2, 3, 4)
I
I
Triadic
I
I
3
Trichordal
5
I
6
Tetrachordal ....
I
I
Tetratonic (2) . . .
5
5
Tetratonic (4) . . .
21
4
4
I
30
Tetratonic (2, 4) .
4
I
I
6
Pentachordal. . . .
25
2
3
I
31
Pentatonic
Mode I
I
I
Pentatonic
Mode II
7
8
Pentatonic
Mode III
168
31
5
4
208
Pentatonic
Mode IV
I
Hexachordal
64
18
7
90
Hexatonic (2) . . . .
8
9
Hexatonic (3) . . • •
I
I
Hexatonic (4) . . . •
64
17
7
89
Hexatonic (5)
I
I
Hexatonic (6) . . . .
30
2
3
36
Heptachordal. . . .
116
41
13
170
Dorian
I
2
3
Phrygian
Pentachordal. .
I
I
Lydian
I
I
Mixolydian
I
I
Irrational
24
6
7
3
40
Total
551
128
52
•3
744
(plus six
(plus one
(plus seven
fragments)
fragment)
fragments)
556
APPENDIX A
Range of Melodies
Range
Folk
Songs
Additional
Songs
Games
Additional
Games
Total
major 3rd
4th
5th...
diminished 5th. . .
major 6th
minor 6th
major 7th
minor 7th
octave
5
4
32
I
78
9
7
41
192
2
68
14
33
31
29
4
I
I
2
5
19
I
6
34
26
4
7
12
10
I
I
I
3
6
2
6
23
5
2
2
I
I
4
3
I
3
I
7
8
40
I
107
15
7
54
252
2
99
20
43
43
40
diminished octave
major 9th
minor 9th
major loth
minor loth
1 1 th . ....
I2th
5
major 13th
I
Total
55^ .
(plus six
fragments)
128
52
(plus one
fragment)
13
744
(plus seven
fragments)
First Tone
Degree OF Scale
Folk
Songs
Additional
F'oLK Songs
Games
Additional
Games
Total
I
II
Ill
IV
192
12
129
I
204
12
I
40
I
33
S3
I
20
ID
20
2
2
I
I
6
3
254
14
173
I
V
283
VI
13
VII
VIII
I
5
Total
551 .
(plus six
fragments)
128
52
(plus one
fragment)
13
744
(plus seven
fragments)
APPENDIX A
Beginnings
557
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
With weak beat
With strong beat. . . .
324
227
86
42
23
29
3
10
436
308
Total
551
128
52
13
744
Initial Progressions
Ascending
From weak beat .
From strong beat.
Descending
From weak beat.
From strong beat.
192
26
40
36
53
ID
16
265
41
60
51
Total.
294
87
29
417
Initial Progressions Folk Songs (No. 1-557)
Interval
Ascending
Descending
From weak
beat
From strong
beat
From weak
beat
From strong
beat
2
-J
39
56
77
ID
10
7
14
2
I
I
I
14
21
3
2
14
16
4
5
c
6
I
8
Total
192
26
40
36
Total initial progressions 294
Progressions after repeated tone ascending. ... 122
Progressions after repeated tone descending. . . 135
Total
; 551
(plus six fragments)
558 APPENDIX A
Initial Progressions Additional Folk Songs (Nos. 558-685)
Interval
Ascending
Descending
From weak
beat
From strong
beat
From weak
beat
From strong
beat
2
9
22
19
2
I
3
5
■2
6
6
2
I
I
5
3
-}
A_
5
6
8
Total
53
10
16
8
Total initial progressions 87
Progressions after repeated tone ascending. ... 23
Progressions after repeated tone descending. . . 18
Total 128
Initial Prog
REssiONs Games
(Nos. 1-53)
Interval
Ascending
Descending
From weak
beat
From strong
beat
From weak
beat
From strong
beat
2
I
5
12
2
2
2
I
I
"J
2
A
I
6
Total
18
4
3
4
Total initial progressions 29
Progressions after repeated tone ascending. ... 14
Progressions after repeated tone descending. . . 9
Total 52
(plus one fragment)
APPENDIX A
Initial Progressions Additional Games (Nos. 54-66)
559
Interval
Ascending
Descending
From weak
beat
From strong
beat
From weak
beat
From strong
beat
2
2
I
I
■I
2
4
I
Total
2
I
I
3
Total initial progressions 7
Progressions after repeated tone ascending. ... 3
Progressions after repeated tone descending. . . 3
Total 13
In 281 folksongs the first progression is ascending.
In 99 folksongs the first progression is descending.
In 1 47 folksongs the first progression after repeated first tone is ascending.
In 152 folksongs the first progression after repeated first tone is descending.
Progressions after First Tone Repeated
Number
OF Repe-
titions
Folk Songs
Additional
Songs
Games
Additional
Games
Ascend- Descend-
ing ing
Ascend- Descend-
ing ing
Ascend- Descend-
ing ing
Ascend- Descend-
ing ing
I
2
3
4
5
6
7
8
10
11
12
63 38
29 41
9 26
9 9
4 8
2 5
4
2
2
2 2
2
16 10
5 3
I 2
I I
6 4
1 2
2 I
5 1
I
2
I
Total.
122 135
23 18
14 9
3 3
S6o
APPENDIX A
Climax
Folk
Songs
Addition-
al Folk
Songs
Gam
BS
Addition-
al Games
Total
Highest tone repeated . . .
Highest tone not repeated
453
98
99
29
41
II
13
606
138
Total
551
128
52
13
744
Stanza
Chorus
Total
Stanza
Chorus
Total
nl
N
C
0
Stanza
Chorus
Total
u
c
o
Near beginning
260 31 291
66 14 80
27 I
28
II
II
364 46 410
J3
Near middle
195 8 203
33 4 37
18 ..
18
I
I
247 12 259
ffi
^Near ending
50 7 57
10 I II
6 ..
6
I
I
67 8 75
Total
505 46 551
(plus 6
fragments)
109 19 128
51 I 52
(plus I
fragment)
13
13
678 66 744
(plus 7
fragments)
Final Tone of Folk Songs and Games
Scale Degree
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
I
487
2
3
I
32
2
24
112
I
2
8
5
50
I
I
id
3
659
3
5
I
II
Ill
IV
V
44
2
30
VI
VIII
Total
551 .
(plus six
fragments)
128
52
(plus one
fragment)
13
744
(plus seven
fragments)
Final Tone Repeated
Number of
Times
Repeated
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
X
2
3
25
12
2
3
I
7
2
I
35
17
I
Total
37
6
9
I
53
APPENDIX A
Final Tone Anticipated
561
Number of
Times
Anticipated
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
Once
53
6
2
9
3
4
66
Twice
Thrice
9
2
Total
61
12
4
77
Ending
Kind of
Ending
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
Strong
365
56
91
39
100
16
9
3
31
9
II
I
6
7
502
81
118
43
Relatively strong.
Weak
Relatively weak. .
Total
(plus SIX
fragments)
128
(plus one
fragment)
13
744
(plus seven
fragments)
Ending
Interval
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
1 ascending
96
279
64
71
27
5
8
I
30
62
II
15
5
I
4
13
25
3
4
4
I
2
descending
4
8
3 ascending
descending
4 ascending
descendine
C ascendine
descending
8 ascending
descending
Total
ascending
187
364
46
82
20
32
descending
4
9
Grand Total 744 ^plus seven fragments)
562
APPENDIX A
Circular Tunes
Cadence on
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
II
2
3
I
32
2
I
2
"s
I
3
3
Ill
5
IV
I
V
44
VI
2
Total
40
II
I
3
55
Meter of the Folk Songs and the Games
Kind of Meter
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
2/4
142
161
112
I
45
18
59
8
5
21
32
43
10
2
17
I
2
30
4
3
2
13
7
3
200
2/2
200
4/4
159
4/8
I
3/8
I
3/4
58
0/2
20
6/8
89
0/8
9
6/4
7
Total
551 .
(plus SIX
fragments)
128
52
(plus one
fragment)
13
744
(plus seven
fragments)
Folk Song>, and Games with Changing Meter
53
65
APPENDIX A
Summary of Progressions in 744 Folk Songs and Games with Their
Numerical Frequency
563
First tone repeated one or more times
Last tone repeated one or more times.
Last tone anticipated
First tone first degree
First tone fifth degree
Last tone first degree
Last tone fifth degree
First progression ascending
First progression descending
Beginning with weak beat
Beginning with strong beat
Approach to last tone ascending
Approach to last tone descending. . . .
Ending strong
F-nding relatively strong
Ending weak
Ending lelatively weak
Circular tunes
3^-8
53
77
254
283
659
44
306
III
436
308
257
487
502
81
118
43
55
Progressions by Skips
551 Folk Songs
128 Additional Folk Songs.
52 Games
13 Additional Games. . . .
744
9226
2529
743
^3
12651
In 744 Folk Songs and Games the preference for progression by skips is shown by a
majority of 1 1 12.
Of 551 Folk Songs 315 contain more skips, 212 more steps, 24 have equal number
of both.
Of 128 Additional Folk Songs 59 contain more skips, 6^ more steps, 4 have equal
number of both.
Of 52 Games 23 contain more skips, 18 more steps, i has equal number of both.
Of 13 Additional Games 6 contain more skips, 5 more steps, 2 have equal number
of both.
Folk Songs Nos. r-457, F-549, F-648, and F-661 consist entirely of progressions by
skips. No. F-650 is the only one progressing exclusively by steps.
Game No. G-45 consists entirely of progressions by skips.
564
APPENDIX A
Kind of
Structure
a a* b b
Folk.
Songs
Additional
Folk Songs
4
13
Games
II
I
15
Additional
Games
Total
18
"5
2
7
I
I
I
13
I
I
a
II
I
I
I
3
I
56
3
9
I
2
7
I
I
9
7
2
4
20
17
6
4
39
12
4
2
3
16
I
I
9
I
3
I
I
2
I
I
I
I
I
APPENDIX A
56s
Kind of
Structure
a a' a b b' b*. .
a a' b b' a a'. .
a a' b b' a^ a'. .
a b a b a b. . . .
a b a' b' a' b'. .
a b a' b' a- b*. .
abc
a a b c
a a' b c
abac
a b a' c
a b b' c
abca
a b c a'
a b c b
a b c b'
a b c c'
a a a' b c
a a b c c'
a a' b c c
a b a' a' c
a b a c c'
a b b' a c
a b b' c c'
a b c a b
a b c c' c^
a a' b b' c c^ . .
a a' b c b c. . . .
a b a' b' a^b^..
a b a b c b. . . .
a b a' c a^ c*. . .
a b a' c b' a' . .
a b b' b' c a. . .
a b c a b c. . . .
a a' a^ b c c' b.
a b a a c a b. .
abed
a b a' c d
a b c d b
a b c d c
a b c d c'
a b c d d
a a' b c d d . . .
a b a b c d. . . .
a be b'd b*...
a b c b' d c. . . .
a b e c a' d. . . .
a b e c' c' d . . .
a b e d e' d'. . .
a a' a' b e d d'.
a b c d e
a b c c' d e. . . .
a b c d d' e. . . .
a b c d e d. . . .
a b c d e f f . . .
Folk
Songs
13
I
6
1
2
Additional
Folk Songs
Games
Additional
Games
TOTAI
I
2
2
I
I
I
18
2
6
I
2
3
I
4
6
II
5
I
I
I
I
I
I
I
I
I
3
I
I
I
I
I
I
I
I
I
76
I
2
I
I
I
I
I
I
I
I
2
I
I
I
I
I
I
I
566
APPENDIX A
Kind of
Folk
Additional
Additional
Structure
Songs
Folk Songs
Games
Games
Total
a b c d e f g
I
I
abcdeff'g...
2
2
abcdefgg...
I
I
mmn
7
40
8
I
8
53
13
21
m m' n
4
5
7
I
7
2
nmm
n m m'
ID
I
3
Bar plus Coda. . .
I
Inverted bar plus
Coda
I
J
Reprisenbar plus
Coda
I
I
Bar plus bar
5
I
6
Bar plus Strophe .
I
I
Bar plus bar plus
Inverted bar. . .
I
I
Bar plus Strophe
plus bar
I
I
Bar plus Strophe
plus bar plus
Inverted bar plus
Strophe
plus Coda
I
I
Inverted bar plus
Strophe
I
Strophe plus bar.
3
3
Strophe plus In-
verted bar. . . .
I
I
Strophe plus bar
plus bar
3
3
Strophe plus bar
plus Strophe. . .
I
I
Reprisenbar plus
Strophe
I
2
3
Reprisenbar plus
Reprisenbar. . .
I
••
I
Total
551
128
52
13
744
(plus seven
fragments)
APPENDIX A
Combined Structural Analysis
567
Kind of
Structure
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
a: with all its
variations
a b: with all its
136
30
17
3
186
variations
a b c: with all its
165
31
9
2
207
variations
abed: with all
61
15
4
80
Its variations. .
a b c d e: with all
74
8
7
2
91
Its variations. .
a b cd e f: with all
3
1
4
its variations. .
abed efg: with
I
I
all its variations
a a b a: with all
mepri-
4
Its variations. .
All other bar-
forms:
All compound
24/senbar
65
18
21
17
5
5
8
2
5
I
50
95
26
Total
551
128
5i
13
744
(plus seven
fragments)
The Most Frequent Structures Found in the Folk Songs and Games
Kind of
Structure
Folk
Songs
Additional
Folk Songs
Games
Additional
Games
Total
a a*
84
41
61
24
65
34
13
II
8
21
17
5
15
3
5
5
8
3
I
2
5
115
ab
abed
Reprisenbar
Barform
a a' b b'
76
50
95
39
APPENDIX B
SCALES OF THE FOLK SONGS AND GAMES
1 2
f) h '^
y ,D »
/ ii
/
« 1
fc^^^ m *
^
f(^ m * w
^' m
K-J m ' II
^ -0- '
8 36 32 8
3
38 8 4
4
m
1 27 10
12 4
/ft • II y 1
L/
« *
y ^ - » 1 1 y^ !
T h
m •
4^ a — • *
Hlfe^
-^ — «-
-# *-4* ^
^^ » • ■
33 12 26 31 17 5
5
11^
2
• *—
4 2
6
D h
10 14 2 18
8 3 3
/
y 1 1^
«
y «
_ * ■■
/L b
^
«
IT'i m *
(<T\^
Xs) - »
\A)
20 6 36 30 16
7
8 12 4 22 32 44
8
6 12
/ft
^ 11
/
/,.
*
p^ *
v\
^
« II
VMJ ^ * ■
\^) ^ ' II
22 14 28 34
9
-Oit
50 12
•-^ -0-
50
10
i-OHt
22 40 118
24 38
7^-^?^ = a — 1
Tflr^
— a ' \
If ^ • *
^ 1
frh^
A
• 1
\s} m * '
VM; ^ « -■ II
16 12 14 36 28
11
0
14 6 8
12
A
4 28 8 16
56 16
-jI- •
.^ H
t^ 5 * *~
■
— (fh~
— > H
\^} •
VM^ - - II
b 8 \2 27
13
8 5
H
26 30 25
10 6
"V ^ « II
/ « ' 1
X «
" 11/
• • 1
Im * *
r-
\ - * • II
IB^ ^ » > * ^
^^-i-^
#
II
28 4 8 50 18 20 4 4 16 4 12 35 13 4 4 8 4
APPENDIX B
569
f^^— H
i
18 4 12 30 10 4 8 4 6 2 10 4 44 2 34
17 18
^ . ^
8 48 4 62 22 44 12 2 6 46 8 14 2 6
19 20
14 6 28 4 36 14 10 32 2 16 8 37 8 37 12 12 26
21
22
:^
* •
^ -0-
4 34 12 18 8 14 6 40 29 23 24
23 24
it
# *
• *
y . ^ ^
62 22 38 86 28 10 32 24 36 28
25, 26
i ^ , . « •
» g^
B^i:
-9 »-
4 34 4 8 72 62 38 16 18 12 8 6 28 22 14 6
27
28
-• ^
-« * * ^
32 16 12 48 14 4
^> , . •'
22 4 28 17 19 4
29
7^
*
30
— 0
^^^
' #
=»-
— # —
I^
•
— • —
— • —
*
18 10 56 36 28 20 10 12 28 15 21 10
31 32
16 48 16 26 48 28 24 18 2 20 12 34 4 6
570
33
APPENDIX B
34
i^. '''%'-'■'' ^
64 30 15 21
35
30 22 60 18 52 12
36
^Bt?^
i
14 li
37
44 8 48 24 12
38
28 4 84 20 48
4 16 38 8 28 2 20
39
24 4 4 64 30 26 24 12 4
40
i
il
:ir— • • ■
16 20 26 20 6 6
41 42
2 22 34 40 40 6
i
i
a' . ' ' '
56 16 64 44 30
43
6 20 56 18 32 42 16 2
44
i
i
m
W
^=r
6 22 112 29 80 19 82 16 4 12 16 36 5 19 18 2
45 46
S:
4 16 56 62 34 72
47
12 80 25 23 16 28 12
48
i
m
£r * — - —
^ * ^ r^
12 12 4 22 2 14 16 2 12
21 20 64 6 16
49
50
I
^
^"/^
P
5 24 27 14 18 4 4
2 2 5 13 19 24
APPENDIX B
571
51
52
i^iL=
■^ir-^
m
—0—
^^
^ —
=»=
-•-
— • —
4 51 36 17 15 13 10
24 4 40 16 12 24
53
_ , ,
38 20 30 20 16
64 42 54 24
55
l£
^
-m •
20 24 36 40 54 32 16 4
4 25 5 15 8 8 2
57
58
i
=;SS
^ • '
2 2 40 12 8 24 8
16 8 36 6 10 12
59
n
60
-,^i- ^ « —
-J- - . II
tfr
^
— • —
— - —
«
— # —
— ^r
kj ^^.
»
— • —
11
12 19 68 20 8 8 4 6 28 22 8 52
61 62
i
^ESA
-0 • '
58 58 48 36 40 4
36 16 4 36 26 30 4 2
63 64
i
HM
_ — , — »
16 8 8 32 16 48
65 66
6 70 36 64
i
i
w
W
0 *
S" — 0-
16 24 36 6 14 49 8 47 25 2
67
68
i
-» — •
2 10 17 6 21
32 56 96
44 16
572
69
APPENDIX B
70
i
t
12 24 70 4 14 18 4
ID" *
48 16 30 24 26 20
72
i
12 2 44 8 4
30 2 34 10 4
73
74
0
—7-,-
y
-> U A •
j\
((r *-- • *
£K ^ 0
^i:Z 0 • 1: 1
I^ji__ ,, , c U
16 14 U 4 4
56 30 32 2 8
75
76
i
6 2 14 17 19 2 4 12 2 14 18 2 2 36 4
77 78
i
ff
52 16 40 4 16
13 10 28 11 24 10
79
80
i
r
8 28 14 26 8 36 8 4 40 32 46 22 76 16 8 12
81 82
4^=7=^=^^-^m *"^
83
32 22 118 32 52 24 16 4 38 28 40 36 2 6
84
22 22 40 4 12 2 26 8 4 42 4 24 4 34 2 2 6
85 86
^
31 12 138 20 42 16 4 38 4 19 12 36 8 6
APPENDIX B
573
87
88
—wfh
i — a — •— ■
n
89
26 54 16 56 8
16 2 7 2 35
90
^^"^"^
-^ * * '
25 4 3 24 4 6
> ^ * '
if- —
^ -#-
16
91
. ' ' ' '
4 100 20 36 4
— W^ ^
52 24 12 16 8 92
92
. . ' ll^* =
# • — ^
12 32 10 58 12 12
4) —
52
93
12 20 44 20
€^
^ -0-
32 4 8 16
94
-. ' • ' II
16 70 34 78 26
12
95
. ' '
8 32 6
4 2 10
96
71^^=
—> • ^—
6 6 27 12
15
97
0 * ' :
7 12 42
12 10 8
9S
. ^ ' ' ^
8 30 8 10
-?P —
■^^t^
^
— * ^5^===
0 -±^^-
^ r-
8
99
0 ■
8 20
U^|2 ,
28 46
100
42 30 12
€)
•-' -#-
15
101
> • »-
4 16 9 17
^) i—
3 5 4
102
-^---~[Bfe=
0 * 0-^—^
4 32 10 6 8
feh=F
0 • ' -
w=
-^ • * ^—
14 4 36 5 19 2
14 40 36 24 16
574
103
APPENDIX B
104
i
¥
-0 ^
30 16 34 14 18 4 16 2 10 28 8
105
n
106
y m *
y
/\ m
•i *
f(V\ m *
irn m •
\a) ^ •
Vm; ^ •
\J • •
^ -•- •
4 20 4 8 8 4 15 7
107
4 2 1 B, 1 U
108
g)^" ..*-''"' H4' . . ' ^
24 32 46 52 4 104 40 48 16 20 9 44 15 32 15 18
109 110
i
¥
_ ^ »
104 48 32 16 36 4 12
112
12 26 22 4
111
i
113
32 20 44 16 8 45 17 38 7 11
114
m
m.
^^^^
44 24 40 8 12
115
10 2 4 30 8 8 2
116
5 67 27 45 16 44 8 40 4 12 18 4 50 12 12 12
117 118
i
• — •
W
12 12 4 20 96 50 124 106 26 10 16 18 2 12 60 16 20
APPENDIX B
575
tl9
i
120
1:
m
-m •
36 32 4 122 12 22 32 4
80 21 18 2 8
I
i
9-
-9 CI W-
20 12 72 34 72 80 28 28 72 4 32 28
123
124
. . ' ' m
-0- • —
8 8 60 8 12 24 4
^=«:
4 4 30 4, 4
125
126
i
W ' *
T» ^
20 64 82 40 32 16
16 80 8 16 16 16
127
128
_ ,
28 12 72 4 24 22
36 24 68 20 32 28
129
130
i
m
tr — • • ' "tf — 9 — •—^
86 26 4 134 58 44 6 24 68 30 10|128 72 38 4 32
132
i
=;^s
18 16 8 62 16
6 16 30 17 39
^ • • '
14 8 26 12 48
12 18 20 24 40 2 12
4 16 6
135
i
^ ^^— » '
22 4 58 8 48 38 8 4 32 20 46 36 50
576
137
APPENDIX B
w
6 2 15 23 22 12 57 10
138 139
21 9 7
i
-9 • ■ "D' ^ 9-
12 12 88 16 20 24 12 34 20 26 12 4
HI
HO
32 8 16 32
H2
50 30 54
143
22 8 16
4 . . ' ' -Hi# . . . * ' n
34 12 58 12 12
H4
20 4 28 12 14
145
^
• •
66 2 26 74 16
22 14 18 4 6
146
147
I
i
1} . . ■ •
12 4 32 34 22 44 6 4
149
44 22 48 24 8 12
i
82 80 104 20
150
12 8 20 40 19 12 9 4
151
i
^ 0 «
8 56 32 16
152
153
m
16 50 14 12
i
2 2 26 8 16 2 4
8 9 42 5 6 2
154
APPENDIX B
155
577
• '
f^T-^.-^
36 44 30 26
156
50 11 23 12
157
ffi
^^^
16 4 50 62 48 10 8 12
158 159
16 108 84 44
^) ^ ^ > -'-^^^^= , . 0 *
0 »
16 32 24 24 32 14 6 15 47 56 89 43 22
160
161
i
i^^. ' -^
4 30 22 8 24 12 24 4
42 22 14 24 2
162
4 28 30 30 12 22 4
164
165
^^m
i
16 14 18 16 16
16 12 12 12 2
8 35 2 24
166
168
167
0 •'
^^^^S
6 3 5 14 34 2
8 12 8 20 16
169
-, 0
6 6 4 34 8 6
If. ■ .
12 24 4 8 80
578
APPENDIX B
170
171
0
Vtt
m m
V I
/k
, M. *
/^
w
«
— • • —
-^1^
^ s •— H
12
172
12
40 32 44 32 16 8 14 32
173
• •
36 28 8 8
V m '
/ » w
/ *
/ - • II
4^
# '
I
Wi
# * — =^- — H
38
174
n
m
4
— « ■
18 28 12 26 4 6
175
r\
Ll^}^ » •-
10 1
52 17 35 17
\j II
L/ . II
'X
• /I Hi
m '
ifh
*
• \\f
T^ •
* • II
\M^ « ■■ ir
y\) * * II
36
176
7fr^
28
128 28
O .0.
36 14 73 26
177
17 2 2
8
178
* •
68 28
24 1
HI
2
179
3^ . '
16 4
7
1-
> * ' 11
42 26
4
180
n
12
0 *-
4 38
24 46
10 64
181
-0 •
32 44 16 26
7 ^ — <
r >:^^i -
— 0- .
t^
*
— • — « — '
-^ ts
, - • ' '
\A) - * -■
vc 7 ^ A
'J -m- •
8 4
182
-^
8
64 100 28
18 58 1
1
B 16 26 20 6
S3
36 6 4 6 8
II
ts
T— » ^
. • ' * ' w
34 20 «
184
)8 34 58
16
— » •—
^ • • '
38 12 40 36
185
34 14 4 16
. • *
$-^
m
• * ^
H#=
. • *
0
98 20 44 16 32 16 24 32 4 36 18 6
186
APPENDIX B
187
579
4 17 63 24 24 31 30 23 4
189
I
ff
!i:
12 4 8 48 52 6
112 32 56 8 28 4
190
191
^
li
"J — :
W-
6 6 52 28 8 24 4 16 32 52 40 70 24 24
192 193
0 »
^ * ' '
16 24 20 4 32 12
194
4 8 18 8 56 8 16 20 4
195
i
9^
12 5 18 9 4 4 8
28 6 2 4 8
196
197
i
q^
p
_ — , „
24 8 10 44 12 4 8 16 12 8 10 28 6
198 199
^^ ^ ' '
'4 30 41 11 46 34 26 4 8 28 8 56 54 65
200 201
«=-??^
0 :
2 14 13 6 24 23 1 8 28 152 62 93 214 20
58o
202
APPENDIX B
203
-g g£
30 19 15 90 2 60 76 18 56 12 58
204 205
i^^s
48 12
48 6
206
48 2 2 32 2 66 4
207
fcr
^
-b* — \t
0 •
48 2 20 2 36 6
208
209
0
L/I^ii 1
1/
y ^0
*
/
f'\ ff
*
ir ^ «
V-r-^ .
0
v.v; ^ »
t) •
c' -#-
•
^
II 19
210
4 21
211
18 2 18 12
-^ • ^
12 13 8
213
16 8
52 44
5 12 8 6
212
i
w
4 24 4 20 12
5 1 8 20 3
2!5
-» •
32 18 22 32 20
-^ ^ '
14 10 13 27 22 34
217
216
I
6 6 30 16 16 18 4
6 19 3 18 27 9
APPENDIX B
S8i
218
i
219
26 12 42 22 54 30 6
220
4 4 16 22 10
221
i
II' -0^ ' — ^
-0 •
28 16 2 14 23 10 5 2 60 36 74 114 24 52
222
i
r
m
==^4 • * '
4 32 16 54 52 14 24 4 24 40 8 108 40 36
224
-T— r
225
1^
— • —
30
226
— •—
12
25
31
12 :
~i — •
iO
4
227
1#=
4
-, • -^
32 8 28
44
4
12
*
21
228
-• —
5
— • —
58
0..
16
12 8
22
«^^
8
9
-• —
74
. * *
32 30 72
20
12
0
«f^
44
230
0 b
•
12
— • —
24
— #-
4
— -• —
32
t)
9
2 58
231
-n-9
8
0 •
46 98
26
18
7^^
P
"■7f
0
— •
((v\
rn
« 4
\A)
^
vm;
* • ■
4
232
-0-
4
32
4
28 36
20 16
233
n
8
60 8 20
8
8
U ^ [|
y
—0 — ■
/L
/
«
icn
A
J
\(^
« *
vm; , - II
\s)
4
t) •
«J
♦-
4 37 4 12
64 148 48 60 56
582
234
APPENDIX B
235
i
28
46
38 48 42 14 12
12 28 20 4
236
237
E2I
tJ
24 8 4 24 16 16 4
4 60 24 50 44 20 7
238
#
«
239
fJ -0- '
30 15 29 39
240
11
9
4 32 24 16 8 32 24
241
■ U ,1)
'' 1
y . 1/ m
> h K
^
« 1
/ h f-> ■" •
r^ " * ' 1
(r\^\> , * •
v; ^ ^ 1
V.V >) ^ m '
tJ -0-
tJ '
20 4. 44 4 32
242
32 14 4 52 14 17 4
243
-^
14 40 18 28 24 16
32 20 26 36 14
244
245
0
\J
V
As *
/ « '
f(\\ m •
lr^ • *
KX) m *
Ik; ^ • •
tJ ^ 0. ' •
«)-*-••
246
28 20 16 16 32 24 4
247
28 24 20 8 28 24 4 8
102 24 40 37
__ , .,
36 8 12 4 84 12 12 24
248
249
y
^ * w
y »
/ ^ * 1
f(^ m *
f(\
^
«
1
\i^) m *
\s)
^
r
tJ -•- * '
d -#-
#
32 14 10 24 68 12 36
16 15 21 41 4 2 16 4
250
—9-
20
APPENDIX B
251
583
44 16 34 8
-* ^
12 4
38 41 21 8
^
XT r-
4
254
2 36 34 38 10 4
^ ' ^
2 38 26 102 32 30 16
255
tr— ^
6 56 32 79 33 24
256
4 10 49 20 18
257
56 32 24
60 8 12 12
258
259
0
y m
V a i
/v. - '
/L * * •
lfT\
«
^
frn - * • 1
\\)
^
1
\>\)
* "■ II
%J •
•J -#-
•
16 32 76 68 42 26 36 4 36 4 66 24 4 16 4
260
261
I
s-^-i^ — *-
24 12 42 12
262
2 4 18 24 26 50 4
263
i
^
38 13 8 93 30 38 12 6
"J^ • '
22 20 87 49 48 2 20
i
264
265
P^
6 8 63 82 49 2 18 4
6 14 48 20 26 2 12
584
266
APPENDIX B
2 6 46 17 29 4 38 4 2 12 2
267 268
3m
16 8 14 10 44 15 6 8 6 2 12 48 24 60 68 20 12 8 4
269
270
H> n
#=
, . >=^
?T^ i-^-^-
30
271
_, « ?
32 4 78 44 36 20
4
272
0^
16 8 14 33 25 23 2
7\ . * '-\
t^ , . ^-^:
<^)
*-> -0-
30
273
^ * ' L
12 128 24 88 42 24
'S^ ^ ^ > • ' ' ' "
9 3 48 63 18 57 30 48 12
274
tjl 1
y itrf^ m *
7 Dri
m
X. fl • *
Jf\^ 0
^ m ' \
(Cv\ ^ m *
Xi7 - * " 1
\s\) ^ m * '
*-> -m-
^ • '
J
• • '
32 16 10 109 88 68 44 10
4 4 36 38 12 74 82 46 28 24
275
n
275
0
I^ m
y 1 m *
7 - '
/lb » *
ff ^■
^
^
i(T> » •
vz
^
0
1
vm; « •
11
*-> -m
•
J
14 4 10 18 26 12 6 6
20 18 16 4 32 4 2
277
278
i
38 34 38 12 20 140 62 32
6 48 37 28 52 9 15
279
280
w-
-» — *
22 16 32 10 28 14 2 4
10 4 36 26 28 22 2
281
APPENDIX B
282
58s
12 7 2 39 22 26 10 2 12 60 8 88 32 78 40 56 10
283 284
^
i
*j -♦-
285
4 4 32 29 65 40 12
4 32 40 32 4 24
286
i
m
» »-
46 12 30 18 36 54 12 30 18 36
287
0
288
0
-J-
m 1
y \ ■• "
/ • '
/ h
« * » n
l(\
A
m
1
\(\^ m » ' ' n
VZ - ' 1
\>) g * » ' H
«j ^
9
kJ .^ m '
24 5 7 22 4 17 4 54 8 15 3 57 25 4 20 2 4
289 290
i
a' . • '
-, • •
12 28 18 34 30 6 14 24 3 19
292
291
^m
28 2 8 26 16 22 17 45 4 24
293 294
i
i
16 28 20 44 20
12 8 22 2
295
296
a' ^ ' •
^
9 14 8 19 2 8 16 26 34 20 30 12
586
297
APPENDIX B
298
16 4 40 6 26 36 1 26 29 8 18 36 23 28 3 12
299
300
m
16 76 12 24 12 40 12 14 40 26 8 6
301 302
303
15 44 60 42 12 76 24 8 44 48 44 8 100 25 7 6
304
s 0 *
-, 0 '
36 32 18 120 24
305
4 2 2 2 8 6
306
IE
, . * ' ^
-0- '
^ -9-
2 2 10 6 10 6 14 2 12 8 19 2 28 10 24
307
¥ . ' ' '
^^
32 12 22 36 8 18 20 24 34 66 2 32 6
309 310
m
311
-* u -^ — *
4 43 15 16 6 14 6 2 41 13 15 18
312
^^^* ' ' ^
-, — 0 —
20 16 16 10 6 6
18 16 6 4 30 8 4 10
APPENDIX 15
314
587
f^ —^
— 0 —
16 16 26 22 12 4
315
A ^ -_
4e
. . - ' ' —
) 52 104 84 56 12 24
316
6 42 30 54 36 102
317
7^ i-\
8
318
«i ; ^r-^^.
88 36 84 32 16
_
i ,^^^^^=
*J
^_^_,^t_
2 4 26 8 12 20 6 2 6 59 36 10 45 16 16
319 320
* ' ' -.m
±
^
16 4 4 34 32 20 6
321 322
32 68 12 50
i
l^
^^
28 16 18 16 32 12 4 4 10 4 8 10 30 11 2 17
323
324
Zii — r
-* •-
2 2 22 18 8 12 18 10 36 13 13 2 4
325 326
w
. • • •
-a »~
~m
_^, 0
3 4 12 19 8 20 20 24 20 36 16 4 4
327
328
-9 •-
^ •-
0 *
^ *
34 5 22 39 8 12 20 20 104 48 48 16
S88
329
APPENDIX B
330
i
• •-
KJ -9
2 3 12 1 4 8 2
331
40 56 64 36 38 6
i
ii
— ^ » m.
72 18 48 8 100 36 78 18 52 6 24 6 54 6 18 2
333 334
:i?r
!5
-•— •-
28 2 2 54 10 34 4 32 18
2 25 6 12 42 55 58 14 14
335
336
9 *
• •
tJ -0-
3 21 2 22 39 67 51 17 7 24 6 22 22 26 2 2 8 2
337
338
m
-9 • =
5 23 44 24 24
_ ^
4 4 -6 14 18 18
tJ
24
339
340
i
w
4 4 30 14 22 24
4 19 15 38 28 18 6
341
0
342
0 h
y a
y 1 ^
A •
tf
im ' *
ifh^i'
A
«
\s\)
1
\>\} m * '1
d -0-
fj •
32 16 54 56 6
22 10 8 50 36 2
343
344
53 3 11 64 22 37 22 37
38 16 98 26 36 36
345
APPENDIX B
346
589
—I
T
-Oiit-
7X :: — i — * — ^-tt
-^; s •
..«
^^ — •—
H
^My —
«
— • ■
44
347
# —
61
66 42 37
1—
12 8 12
348
136 100 32
. • «
4
. 0
4
349
2^=
— #—
8
—• *
52 16 40 8
1^/
-•-
12
-# — *-
59 23
350
[1^
-0 «
44 8 4 4
8
%J
20
351
0
24
10 63 24 43 17
19
4^ :
*J -0-
12
352
n
0 • *
20 32 48
16
'
/
A
» II
y
/
• * 1
V * II
fl
\ ^ * • M
( ^
^ ^
1
5SI7 ^ "■ II
L*-^
- * •
|l
t-
' -^
•
^
l/ -#-
» •
6 42 15 42 3 23 1 13 2 68 12 4 58 24 52 34
353 354
i
i
li
W
0 »
%} -0- •
6 12 42 28 24 4 58 16 4 20 8
355
48 48 16 104 36 24 96 2 14
356
0 •
0 •
4 56 20 12 16 20
72 24 12 72 36 56 12
357 358
i
w
n 24 68 60 50 148 22 4 19 13 51 9 20 6 22 4
359 360
i
¥^
22 5 54 7 21 4
__ — ^
22 12 42 6 6 8 28 8
590
361
APPENDIX B
362
i
m
2 6 16 2 40 4 8 18 2 7 84 64 22 16 62 58 4 38
363 364
m
W
¥
108 56 16 16 52 60 4 32 4 6 16 24 34 10 68 52 32 10
365 366
±1
2 8 8 36 12 20 38 32 16 12 12 26 8 18 30 22 2 10
367
368
y 1/
p
4h^ —
p .
t^—
— •—
— •—
(fy^^
— •—
— ■—
XsY
^
is./
^ -m
-0- •
^ -w
-•-
2 2 32 4 14 20 16 4 2 2 28 23 25 14 4
369 370
s ...\\n ,.H
%' ^. '1^^ ^ . . iM. • ' ' n
74 42 62 16 104 38 2 98 2
371
tf:
10 12. 10 6 6 98 62 44 60
372
-^-
4 4 12 16 28 44 12 8
373 374
23 14 55 29 64 14 29
W^^
— a •
2 15 9 50 4 28 21
46 54 86 2 50
375
n
376
y m 1
^5u, II
y -. • 1
> il
« 1
If ^
^
^
^
r^ ^
^
4
• II
Vv^ « - 1
vk; - « - II
t) •
^
^ -m
- -•-
•
^
14 16 35 19 35 11
24 2 54
18 8 14 2
377
APPENDIX B
378
591
i
9
» •
0 »
6 57 42 67 12
2 2 38 16 14 24
379
-g — 0 — «
70 26 28 22 78 20 16
43 49 61 8 43 14
381
==^^«»=^=^
34 4 36 72 50 46 16
383
12 5 50 3 44 53 27 72 44
384
26 66 42 76 32 74 64 2 4 28 12 18 132 14 16
385 386
i
-0 — ^
12 46 12 12 140 24 8
4 12 40 34 50 6 12 48 10
.. /
387
388
n
/ 1 '
U , -.11
y ^
«
• b
0
1
It
^^
^
«
1
ff\^
^
*
r
V-
J * - 1
\i>) p •- r
tj
r
tJ
40 16 52 100 48
60 32 40 56 52 12
389
n
390
0
_V.,^ .-. . m -
-y.
t^
0
— • —
(fl
— - —
0
V>7
K) -0
0
— • —
•
34 22 32 24
391
55 32 64 49 40 10
392
0 • '
1 6 40 17 21 2 22 6 4
-0- •
20 12 70 17 81 18 38
592
393
APPENDIX B
394
i
^^s=tJ«=i^
70 20 6
395
37 38 6 66 6 54 1 9 44
396
i
g
^
-» *
=#==*-
tr lii — r
16 10 8 32 28 26 8
397 398
4 12 46 30 12 62
3c:n
2 64 56 106 16 8
399
6 19 58 14 104 36 42 14 13 20
400
i
w
6 16 20 16 4 4
6 8 20 12 10
401
402
w
16 32 36 28 8
tJ -0- -
16 8 56 48 70 48 10
404
-r i— r
-^ »— n
fy— i — » — • — ^—
fy i — # — •
S^-^-i— — •— ^ "
20 28 28 20
6 6 51 23 20 77 11 6
405
n
^
106
■ \J ^ m \
1/ A II
/
^
vT
-. » 11
l( ^
^
«
1
■ fl
1
^
_ *__ '
1
V / - ^ 1
V^ L
> ^ - r
4
407
12
34
10
40
12
16
5 29
408
n
81
25 33
19
■ y , r>
u
« 1
\
y 1 r
• b
*
tM
/ \y u L ^ * II
IC^ - * - • Tl'
l( ^^
^
L'* n« -
11
v^ ; » »
\^J ^ 0 ' '1 II
^ •
«; •
APPENDIX B
410
593
• «=
"• * ~ —
6 2 28 4 12 12 16 10 46 2 12 6 4
^ • *-^
12 22
16
413
^
— p—
414
— #
§^-^
»
— #—
-^
«
«
4 4 4 14 4 14
415
50 12 26 48 32 16
416
2 30 18 34 31 13
2 17 1 16 20
417
418
l£
m
24 8
4 14 8 28
419
4 4 40 36 40 4
420
s^
1 35 4 2 100 32 44 11 2
«1 422
36 20 24
i ^ . * ' '
0 *
11 44 66 36 60 20
423
8 4 12 32 6 2
424
-♦ •-
-» »-
^-^^— ^
0 •
12 10 8 56 16 20 6
16 2 2 17 11 28
594
425
APPENDIX B
426
i
¥
14 12 12 19 17 6 40 48 50 30 12 12
428
I
m
'=^rT~T-^^
14 33 43 40
1 1 15 11 14 6
429
i
^--
¥
^ ^. — » • * —
24 20 6 24 31 19
-» 0 ■
18 20 58 38 40 12 4
432
m
iE=^. * '~m
-r>-i- ' m
2 56 8 2 12 21 30 29
4 4 20 44 48
433
434
i
w
1 3 37 12 35
8 8 48
435
n
436
/ , 1
V , i'
m
V b
^
^
/f b
^
^
if\^ - • "" '
frrv^
—
'
yk)
^
m
^
1
V-;
^
^ s-
«J ^
6 12 24 6 10 2 6
4 13 2 11 25 4 5
437
438
14 44 10 36 16
2 6 50 53 71
439
440
i
30 1 41 6 20 20 36 28 152 16
«1
ix . . » ^
^"^
•4 10 2 34 14 16 6 18 40 10 25 4
^ ' * ^
# •
• *
4 2 2 29 18 36 1 37 12 5 4
■»-15
-» ^
# *
-0 #-
-# *-
^-r~'=^
16 2 4 46 10 22 16 8 4 30 30 24 40
^=^
40 32 28 8 52 16 16 4 4 8 10 14 12 12
448
m
419
^
-0- •
r^
^ *
15 12 4 16 33 35 13 4 14 14 12 10 6 4
450 451
452
5 12 26 2 22 6 24 8 4
453
a^ ^
# . . ^
10 2 2 62 32 62
13 33 56 34 26 13
454
-9
455
-0-
^ - ^ 1
w —
0
£
— 0. —
W—w—
— • —
1
w •
16 8 32
8 10 9 11 8
596
456
APPENDIX B
457
i
-0 «-
S »-
8 8 8 10
458
6 20
459
8 56
-#-i;*
i'izza:
^=i^
3=5*:
18 26 6 24 22 6 19 2 5 2 10 2 2 14 12 4 4 4
460 461
-9- rr
T&
« .. 11
/\ •
/ h k <■ *
rn' • 1
^(\^i) m *
\-\y M " '
V) ^ m *
26 24 24 76 32
462
14
4 34 40 50 4 40 6
463
n
14
/
/ _ II
f?^ • *
tf* "^ ^
(f"^ 2^^ — * — *~
^-\
10 2 8 60 3
464
0 h
tT
3 25 10
465
-uyi-, — • —
12 16 80 21 17
1
4
U ,\)
VfT m *
/ b
A m
If ^^
((v\ *
V^^ ^ m
^
vm; - «
16 32 12 52 36
465
36 8 6 11 49 6 14
467
2
L' ^ « II
f 1 m
/\ <*
» >
b m *
rh • * "»^
r» m *
\A,) m •
IV-
\) m '
56 28 42 62 12 40
468
12 4 6 25 24 24 21 22
469
6
yttu '
y
/ ^tt
A •
/\ '1
/ps tt «
•
rh «
« r
v-> ^ * 1
VMJ - • II
4 24 24 60
470
oiitt
8 18 6 24 36 10
471
n
20
/'fTj+^
m
y "
/\ fi-
—m •
- - i^k 2 —
m _L
V .^ > ' -^
Hfli , . * '^
\
4 8 50 12 16 16 12 8 12 4 12 44 14 10
APPENDIX B
597
472
-T^
73
«
4
474
— i • ' ^H^^
12 24 16 10
12 12 46
475
"1#
_* * f_
22 32 4
« • *-
42
476
^ . • * ' '
40 50 20 88 8 8
6 18
477
37 51 4 12
4
478
, > - ' =
8 52 16 4 36 4 4
s • —
28 28 76
479
"M17?
*
12 64 36 12
, «
4
. • *
r— H4^ ^
— #
14
480
4 12 36 10 30 16 8 20 4
481
70 60 24 12
V *
Vrrii
^ » \\
X - » 1
/ S •
» • 11
IfTV «
A - 1
p\ tt * • n
\>\) • 1
v ; ^ • " H
24
482
f) h
32 34 6 8 8 42 26
483
24 12 4
[>, f> •
r 1 • II
y h m * /
b -, * • M
ir^^ • iT
Y^ hm
>i- ^ ^ n
\>v ^ ^ * * v^
J m V* *r II
12
484
r)
30 84 4 42 58 18 4 12 4 48 4
485
nil
46 54 9 23 12
/ m * \\ y
^ 1
J ^ ' W A
« ' 1
IT ^
- * - llf,T>
- * • 1
V- ^ -, ■' iiv^i
« «
n
U 9
7
486
0
17 46 9 30 15 4
2 28 8 4
487
0-
52 15 15 8
AL
7f H
\(\\ m *
irn
II
Ka) m '
V^LJ - « - 11
iJ -•-
#
•J -•- •
"■
8 10 120 52 66 38 19 38 18 15
598
488
APPENDIX B
489
ji
*
=R
*^
. * ' h
^ ^ . ' ' '—
26 8 41 1 35 10
490
-^-i? n-
h
7
491
-9-t>-
^ . . ' • 11
12 4 45 24 19 12 20 4
~^T
/L b l-i
z s • -— H
l(\\^ a
(Vi^ 17 » " II
\s\) m *
w; ^ « 1
29 9 24 15
492
0
13 24 8
493
64 10 28 38 2 14 12
y
/ 1 1/ -, * » 1 1
i^-^
~s~*
-.^ ^
»_ii ?^ L
^> o * *
%^
, * • \
39 26 36 17 39
494
f)
7 23 12 8
495
0 '
8 4 24 13 58 22 56 2 10
V m
/ 1 ^11
/' m * \
• b
A A ^11
f(\ m '
l(^ • *
\^ ) * '
\
V!v / m * II
18 15 71 22 7C
496
60 12 14 29 12 31 6 32 2
497
A
/
y
/
/T «
l(\ m
m
iih # *
\s) ^ * •
Vvi ; ^ »
100 40 76
498
n
16 24
24 12 68 8 16
499
0
^ m
/
AS '
/
f<\\ m *
If ^ • •
\s\) • '
V- ; • »
22 28 135 12
500
26 40 4
501
12 8 42 42 32
"V '
y tt
> 11
/
0 1
/[ » * '
f(\ m * ' 1
irh • *
X^j ^ • 1
\A) m •
14 9 67 53
502
D
93 24
503
•
8 4 36 38 74 38 16
[) p .-•..
^uK
■t) 1.^ ' '
#-b ^ > * Ml
^ • ^
^r
, -
50 24 84 16 42 18 22
28 16 20 44 72 54 12
APPENDIX n
599
\> 0 * ' -7^^
-» •-
50 35 44
506
4 2 32 24 30 12 18 4
507
^^-■^ '^—
22 84 10 60 6
13 67 19 106 27 24
508
509
2 10 4 64 4 28 40 8
% 104 8 84 4 6 78
510
m
511
^
. . ■ ' -:fl
w
60 56 53 31 49 2 8
4 86 12 20 34 12 24
512
i
:«=
^11. . 8'-^^
^^i^ff— --»
513
55 6 3 12 4 59 8 15 92 4
514
1 8
i
IE
6 5 100 21 47 30 65 19 4
4 6 44 30 40 4
515
516
il
15 15 2 46 6 24 12 2 16 2 156 4 14 3 6 1
517 518
i
^' -^ -»- • — "^^ "tf-^— • •
8 8 26 8 4 38 32 36 4 16 40 12 64 22 28 6
6oo
APPENDIX B
519
520
-^
T-0
Mf 0—i
7f
«
■f(\ * * \
irn
« m
\A)
A 1
vm;
^
iJ •
^ -»-
«
29
12
26 54 8 35 16
10
106
42 66
15
521
522
y m ^
^ 4 II
/\ m /
^ ^
1
ifN » * ((^
*
\A) - • ^ vv>
1
xJ •
11
8
11 14 6 6 21 7
66
10
28 16
2
523
524
y m \\ y
1 - ■■
A - * MX
b
« «
■^ II
fT»
« * " llfH'
^
A
»
M
\s\) - ' \\\s\.
> * ^ II
28
4
56 8 26 18 10 4
32
6
20 2
4
525
526
?r —
_ _ 0
r^F=F=
— * *-
•
26
— »-
6
if • «
4 62 14 16
^) — •—
44
36
60
16 28
8
527
,__*_
528
«
8
•
4
. ' '
12 11 17 12 4
8
90
18
•
68 38
4
529
530
f
y [.''' •
y m w
> k ^ • II
l(\
^ * II
If ^
^
r
^} - -■ II
Vk; ^
^
L
«-* -#-
#
""
o •
54
26
30 50 14 14 46
26
22
64 14
14
531
532
V «
/rr « II
/L *
/ ^ -, * • 11
irh
«
^^
^
*
1 1
Vi ^ * "■
V- ^ # - II
^ -•-
«
O •
9
7
1 51 23 20 9 3 28
26
80
24 48 7
59
533
534
O'i
.. n^
7^
•-
_ ,MT
— ^— ■
if^ - * '
ir\
, • •
S^— iT-
•
_, — « — =
=il^^=^
— •—
-* —
2 13 8 2 63 20 18 2 14 14 2 57 18 11 12
APPENDIX B
60 1
—I
535
536
y'-h
m •-7'
-%
= — •-H
/T\P
—g —
-0 — *
r ^
m * " W
^k\f
v->
^ m ' II
iJ •
-• -»- •
2
28
14 4
40 10 24 4 28
6
48 24
8 10 28
537
538
4 —
0 —
-0 — *-
-it
— 0 «
^i^zfzz
"^^ ^ >
-0—
— • •—
86
30
80
56 8 4 4
16
34 50
6 46
539
540
-^>
-flP
0
r^T^ —
• —
-^ — ^
g^^ .
y
1 *-
»
*-* -♦-
^r •""
32
92
32
40 40 80 6
12
44 4
20 18
541
9
542
fnH'
0
^ • *—
W T"
—jf —
=i ^
»
*~> -0-
—9—
— •
u^^^ — •
32
8
18
50 20 8 53
12
20 49
27 21
5«
— i-^H*-^
544
0 0 *
— •—
s — »-
* • ^
S^^
-0-
> ^ *
8
64
18 12
42 60 4 12 26
1
37 8 33
38 7 8
545
, M *
546
, # *
^
-# —
-» ^
* •
-^)
— 0-
* •
32
22
25 73
16 8 72 8 36
19
30 92
14 60 4
547
548
'
^^^
•
0
Ig' ^ '
-• •
88
54
116 16 84
48 7/
32
549
550
^ . — H^
^ 1. 1^ 0 — w
^
I)
*
-^-M
^ •
-» P*—
-H^ n
«.
r—ir
— •-
i>
V- — 0 —
— «
18 50 35 5
32 26 117 43 2 34 2
602
551
APPENDIX B
552
i
c , . ■ • -
24 10 50 34 48 78 10 2
45 19 33 89 8 50 2 12
553
i
^ -^ 0
32 8 19 109 24
555
68 4
556
71 lb 14 56 35 32
i
_^ — ,
18 5 50 11 16 12
-* • '
10 222 8 76 40 52
557
558
vS
^ 1
/ II
"yn: - " '
/ • "
f?T\
^
^
((\
A
1 1
"W
tf
*
1
\.) -, ' 11
iJ'^ -«
#
«J -#-
•
4 48 10 16 4 24 8 10
560
44 8 28 50 28 28
i
^ -#- • — '
48 10 5 32 16
561
8 12 6 8 18 12 8 4
562
40
18
26
24 18
48 44 48 30
563
564
U .UU
•
V m \\
'7 Wur"
^
0
/v - • II
j(\^'\y —
^
#
rh
«
^^
1
XsT
^
#
Ik; - - II
nJ .0.
J _^
«
12 36 8 8 84 50 46 4
565 566
12 48 20 68 50 50 8
i£
8 4 38 12 50 6 6
2 10 57 63 36 39 33
APPENDIX H
603
567
568
0
W+*u - # 1
y ^11
7 5
» « -
/
» n
l(^ ^
- * •
If ^
a
f
\^\)
«
VV J M
II
^ -#- •
*J
2 77 45 62 26 62 27 10 51 2 46 8 16 20 4
569 570
w.
16 60 40 16 88 12 8 12 4
12 64 30 64 26 46 6
571 572
, •
w^ ^^^-^
— • —
«
4 4 4 20 4 12 4 4 16 142 36 52 12
573 574
i
=^^^^^^
8 36 12 9 37 19 38 12 8 2 38 13 18 53 57 59 12 6
575 576
? , -i ^^^
4 4 10 14
577
28 32 52 12 4
578
'I ^ . . ' '
12 20 16 (4) 104 32 32 80 24 20 68 24 64 4 28
579 580
4.. . ' ' '^^i^ . .-^^^
32 40 64 16 no 20 36 32 16 4 62 12 26 6
581 582
p==^^^=^^^^^^
36 6 34 10 64 27 12 25 2 6 4 32 10 20 6 li
6o4
583
APPENDIX B
584
64 24 64
16 8
59 18 17 81 46 25
585
586
i
0^ ' ' '
4 6 12 101 39 70 18 32
44 22 22 72 22 25 49 26 8
587
588
64 136 53 12 147 84 58
2 16 14 42 24 22
589
590
i
-0 — ^
0 » ' ^
10 12 28 30 14 4 6 6
• — • — '
12 17 1 64 13 24 33 16 12
591
592
0
- U . ' - 1
y "
/ ^
^
«
■^ 1
X
^
« II
IC^ m ^ ' ' 1
rh - * - ■ II
\^) ' m ^ * 1
V.M;
1 1
d • •
J -#-
• '■
684 22 6288
593
594
■ ]> , 0
V
/ W 1- L • ^
yt *
f(\^\> m * UP ^
f(v\ • *
\^) " • # • "
V-M^ _i « #
t^ -w- -*-
t) -0- ^ •
20 22 7 122 70 102 6 4 34 2
2 10 6 46 29 104 54
595
596
0 »-
2 28 10 24 4 16 8 2 2
597 598
40 30 42 44 30 2
•^ • • '
24 15 1 44 20 14 2
42 22 24 19 51 37 6 40
APPENDIX B
60s
599
600
-z — •— ■
^^
il -#-
8
601
. . « • -
16 8 100 32 28
^ • • *
6 74
602
— • — «—
57 50
—0—
13
* •
119 38 4
0 * '
^^
tJ -0-
U ]
603
-9-1? —
1 79 44 39 7 48 8
^^^12
13 4
60-J
0-K-
0 • •
7 89 44
— ♦—
45
* Il
10 26 7 6
(^^^
ir^r^'^
■jm^t?-
._ . m
"•
7-»— -^-jl
13
605
^ • • '
7 2 53 21 15 2 20 4
606
■0 « ^—
14 17 21
2
18 14 8 10
, «_
6
607
^ ^9 I'd 27 7
28
608
— •
12 52
16
56 24 4
/ ,9 - •
l/ i ' 1i
• II
J k u
^ • "■
i^ If
- » M
*>^
_. — • — 1—±
vCl") * " II
54
609
n
35 35 4 44 32 4 16
610
0
4 36 20
24
24 4 4
V » *
V 1 -.11
/\ *
/ b
-, * - II
i(V\ m *
(\^ » * \\
\s\) ^ * ' '
)s) . m * ' \\
«J •
d -i
^ •
^
2 23 33 44 22 4 16 4 12 48 46 41 9 12 4
611
612
i
i
ffi
i.-^— way .^JE^
60 44 84 46 84 66
5 37 25 114 41 32 4
613
6H
r
A
^
y « 1
■j'- • * - ■
y • » II
ff\- ■ ■ ■ m *
i( ^
^
1
V-i _ • »
W /
A
'
11
ti -•-
« »
tj -0-
•
28 36 38 2 112 36 20 78 32 2 12 2 36 22 3b 24 14
6o6
615
APPENDIX B
616
^
^-^-^-^
16 18 22 90 60 34
6 37 21 14 60 35 33 b 6
617
A
618
L/ •
V 1 «
y m
/ b » *
lC\ m ^
\(\ m
Vv > - ^ • ^
Ss) ■ » '
t)' • •
tJ V -^ •
4 2 49 13 13 13
619
24 1 15 27 4 11 3 7
620
I
w
-9 •
70 12 38 102 52 72
16 87 51 74 80 4
622
:r^-^H^
» » p ' -
12 19 53 53 60 32 12 11
> • ^
18 7 2 70 27 21 18 2
.
623
624
0
T ■ ■ 1
y 1 "
y 1
/vb
#
fr
\
If ^
^
#
V^
>
"
tf
1
vk;
'
0
^
1
tJ
-•-
*
t; -•-
9
48 44 18 81 26 40
625
26 28 11 83 41 49 11
626
m
t-t
-0 — «-
W^'^^=^=^
627
12 7 5 26 7 4 21 22 22 2 2
628
12 47 10 54 44 22 2
3=1
12 36
4 188 60 100 24 8
6 6 74 18 44 56 42 6
630
m
16 16 4 24 4
32 8 16 56 40 66 18 16
APPENDIX R
607
631
632
, m • '
6
633
-•— *
84 42 52
8 36
— • — • —
31 50
634
117
J, • ■
81 80 12 84 12
(f:^
22
635
-^ • •-
4 8 74
-• * ^—
26 42 16
. ^ * H^
<f5
24
636
12
. . ' • •
4 44 4 24 16
, M • '
28
637
-Q
. * ' '
28 59 30+ 28
47 14
Hii
25
638
37
0
30
-» 0 • '
30 8 22 6 1 3
A=^
V •—
=H(^
-0 — -- » — • H
38
639
-f
44 78
32
-ijy^ — r—
2
*
56
640
li —
4 18 32
4=
— i • *-
' • ' 1
*
^ 0 » * '
16
641
12 64 30
a 0
76 2
0 28 12
642
42
— 0— u
38 102 38 44 16
-0 — * — • — H
^ 22
643
10 9
5
f-. '
6 5^
64'
8
32 18 2
16
645
, • '
18 8 58
0
60 42
* * *
\
8
6-)
6
0
28
— • — • • -* — B
48 12 8 160
r-W
^
0 ' -
=°§^
"a
r -•-
10 4 47 6 22 16 11 48 14 103 23 41 28
6o8
APPENDIX B
647
- 0-
6-18
0
J - 1
y r
ix-
*
^^ ^ u
-0-
9
0
*
. n
75
44
650
51
23 7 41 4 118 28 12 53 2
652
4 24 24 12
V 0
■yttr
— « —
rfi
— - —
*
-•
/rTY^"
— #-
V^-* m '
v>L'
« 0
4
653
0 1^
40
8
8
4
-0- •
16 8 16
654
n
16
20
26
23
5
y , ^
« 1
y 1 - 11
y U
^
0
• b
^
1
{r\y - » 1
i(\^
A
*
^
II
X^T a
0
^
1
\s) 0 ' 1
8
655
4
14
26
9 3
tJ -0-
16 66
656
47
64
20
28
12
... }.
y 1
'k
X « II
\P-
« #
*■
irh
A
;
0
am; • * - II
tj
32
657
52
0
64
32
12 12
24 13
658
0
8
73
20
6
12
'" r
^
« 1
/ 1
J ^ 0 " 1
/ • II
r ^ «
m
^
If ^
0
1
\s) * 1
ka)
^
II
36
659
44
48
10 50
4
660
A
42
26
52
8
"■y+f 1
y
> ii > 1
/f - II
^^
^
0
'
ifh
A
•
i
ls.>
^
*
1
\A) - - 11
24
661
6
2
10
4
662
2 20
7
45
24
34
— tr -
/■tf
'A m
/
f/V\ -, •
If >
u w
_
iy> •
k^>
, n» U0
t/
0
24
22
10
8
d
0
44
■1'
16
24
78
24
22
18
30
663
APPENDIX B
664
609
I
r^
-^ 0 —
4 8 78 8 38 40 16 44 28 16 94 2 20 50 12 12
# •-
_ , , m
18 10 42 26 90 20 14 4
6 18 26 66 14 44 14
667
668
dt
-»—A\
-0 — •-
tJ -^ -0- Kl -0-
26 4 104 20 34 58 14 5 6 6 112 20 70 124 8 40
669
670
n
/iflt "
y - II
> 0
^
« II
•
«
» 1
((^ " ^ - II
K "^ - * 'I
K-]) a * ^ II
v^^
0
^
II
38
671
-9
10
102
3
56
^ -0-
4
672
rnP
50
14
36
64
11
17
fy , ^ * '
(^^ —
«
•— *
-^l
VV>' ■ ^ m '
vv ; ^ s ' n
%} -0- '
t^ -#-
*
''
6 16 6 64 6 22 32 20 14 88 43 4 47 65 8 18 16
673 674
-y ^
I .\> ■ ■ z — n
fi
-» * '
r^ z a— -• • H
6 38 32
675
0 b
45
17 14 6
8
_* # r
8 44 16 12 10 33
676
u
4
/
II
f\ ^
. «
^
/ 1
^
^
0 '
1
r^
1
''_;*■' '
\.) ■ « ' "
#
«;-#-*•
12 62 42 II 62 44 21
37 15 16 24
677
678
i
:g^
4 4 24 24 38 30 48 20 4 28 4 9 (1) 41 10 2
6io
679
APPENDIX B
680
^fr=
1^ , , n
# —
* • *
^^^ , . >— ^^^^
d -0-
10
681
f) h
4
14 22 2
24 20
22 10 8 50 6 24
682
n
V , "
J. •
V •
• bfi
* •
/ m » *
f(\^U
- * •
((\ m *
K^J
* *
\s) a • •
4
683
49
26 29 3 24
3 8 19
4 20 8 4 28 48 4 8 4
684
0
vra
y 1 a
yf 11
g 0 *
j< b m • *
If
I Tl
«
If^ • •
V*-
7 ■- # 1
VsJ * * '
tJ
TT
-0-
m "■
eJ ^ • •
4 4 32 11 21 28 16 3 11 9 4 2 14 4 25 4 2 2
685
i
s*- , . ■ • -^
-# *
13 14 8 8 4 6 8 4
Scales of the Games
i
W:
0 •-
14 2 5 2 22
3 8
4
12 6 48 10 12
i
s
w
-0 «-
39 16 17 4 4
34 6 8 2
^
6 2 42 22 12 2
8 46 22 28 16 8
APPENDIX B
6ll
-» •
-# »-
21=
16 8 2 34 16 4
9 10
-• • '
24 20 12
0 *
40 92 20 20 2 16 2 16 2 2 38 14
-tf » »-
-# *
^~~^
4 14 12 30 22 14 2 24; 22 26 16
13
m
W^
-0 »-
W^" . • ^
t^-^
43 26 20 2 60 20 16 14 2 46 12 10 12.
15
12 2 6 46 8 14 2 6 18 4 12 30 10 4 8 4 6
17 18
^i^ ^:7fe
* *
2 10 4 44 2 34
^
48 4 62 22 44
4 16 12 18 6
6 2 4 18 2 20 4 6
gl - 22
23 8 28 12 54 6 6 4 4 50 12 12 8
6l2
23
APPENDIX B
24
9 8 18 22 8
25
26 14(+)35 6 60 31 1 22 2 I
26
i ^ . * ' ' ^^i .. . ' ^^^^H
3 15 20 4 21 17 2 6 2 14 21 19 2
28
n^
29
42 19 19 2 24 6 4 12 6 5 16 9 19 5 4
30
Tr~— i^
2 23 14 17 10 51 4
60 24 40 20 88 8 16
32
4 2 38 21 39 30 2 22 5 12 40 15 38 10
33 34
i
^^^
-• »-
-# — • '■ — +r —CI — :^ — r
12 26 12 6 62 28 20 24 16 4 8 64 16 16 4
35
A
36
TTI^
7^
— 0
m^ —
— jp —
— 0 —
0
^^-^r-
— • —
•
^ -0-
0
tJ
18 8 8 86 12 10 2 2 12 11 23 16
37 38
i
li
-• — «-
10 14 4 27 5 28 2 6
12 6 20 16 34 4
APPENDIX n
613
39
0 »
0 »
20 4 2 19 9 8 2
^^^^
16 36 6 6
41
— 1
42
^r —
10
43
2
•
4
— »- •—
-t •
30 8
— • *
* ^-1
8 2
44
m ' ' ' H
10 6 16
r— ^ • '-W
2
— • —
32
10 30
— 0-
[
14 2
--Mf —
\}^ 0
2
_* — - — '- n
22 8 20 9 1
ZL s •—■
4
47
22
12 24
*^ -0-
2
4
-• *-
6 2
8
-*
0 — * — ^ —
2 30 18 12 8
_ 0— .
22
49
— 0 —
10
-» ^
10 52
10 8
i *~
I
•
16
50
2 2 46 3 25 32
. 0
51
0-
22
12
18
4
52
Jyt
0 * •
12 8 20 24
:^ , • •-
16
53
-^
-0-
14
*
34
-•
12
3(
» *
) 22
54
16 24 20 16
7R
2 • —
::>t_
*_
^)
#
—0 •
-M —
, • •
38 20 30 20 16
8 64 42 54 24
6i4
55
APPENDIX B
56
-P n
-fz i-n
J II
X b • *
r "^ —
_
' 1
ffh^ m
v.> ^
«
'
11
8
57
-0-b
20
12
4
1
2 20 4 18 10 10
58
^^ .•*-•-
fe^-. > - ' ' :
^ ^
10
59
— » —
16
16
14 4
4
4
60
14 6 4 28 4 6
i :— fl
61
18
*
18
24
.iLU- — «
2
0 * ' II
108 42 54 20
62
^)
16
63
8
0-
36
— *—
24
•
12 20 4 8
^W
Bf ^ , » « ^ — »
20 24 32 4 12 4
64
4
65
— • —
22
29
—0 •
31 4 1
8
66
18 14 50 16 14
tN^
-#
-^ —
1
%^
-j^^ — « — * — '—°
6 2 34 4 12
48 16 4 124 22
INDEX OF SINGERS
The numbers refer to the tunes.
Allen. Gertrude F-io, 275, 424
Andrews, The Misses F-527
Andrews, W. J. F-499
Banks, Mrs. L. F. F-35, 117
Banks, Mrs. S. F. F-496
Barbour, Mary F-327, 438, 507, 511
Barker, Horton F-670, 677
Bascom, Louise Rand sec Byers, Mrs.
N. T.
Belvin, Jennie F-141, 154, 317, 400,
448; G-29, 35, 41
Black, Elizabeth Janet F-184, 445
Black, G. S. F-87, 506
Black, Ruth F-598
Blacknall, Mrs. R. D. G-55
Blackstock, Vivian F-194, 252
Blades, Camden C. F-466
Bostic, Mrs. G. L. F-272, 582, 608, 615
Bowman, Marion F-443
Boyd, Tom F-2S3
Bradley, Dr. F-S54, 652, 654
Brown, Mrs. F-130
Byers, Mrs. N. T. F-105, 191, 225,
260, 289, 291, 583
Buchanan, Mrs. H. R. F-247
Buchanan, Mrs. Silas F-115
Buckner, C. E. F-588, 595
Buckner, Mrs. Mattie E. F-147
Burleson, Claire (Clarice) F-l, 127,
155, 183, 630
Burrus, Rev. Andrew Jackson F-iio,
463
Burrus, Rev. A. T. F-388
Burrus, J. H. F-54, 463
Burrus, O. J. F-67
Byers, Mrs. N. T. F-105, 191, 225,
260, 289, 291, 583
Cavanaugh, E. D. F-476
Chamberlain, Mrs. Erville Ingram
F-148
Christenbury, Jane F-300
Church, G. F. F-469
Church, Mrs. J. F-562
Church, Lloyd and Steve F-523
Church, Mrs. Minnie F-33, 64, 655
Qiurch, Mrs. N. F-562
Church, T. F. F-287
Coffee, Mrs. Nancy F-61
Coffey, O. L. F-201
Coleman. Alfonso F-486, 528
Corbett, Mrs. J. K. F-197
Corbett, J. N. F-459, 51?
Cox, Catherine F-ii
Cox, Jeanette F-47, 48, 354
Cook(e), Mrs. Alice F-234, 278. 372,
492, 501, 566, 586, 616, 620
Crawford, Eugene C. F-422, 450, 541
Cromartie, Laura M. F-53, 116, 161,
180, 184, 341, 589
Dellingcr, Hestabel F-224
Desha, Lucy Logan F-129
Dilling, Percy F. F-397
Dorsett, Clem F-351
Edminster, Dwight F-379
Eggers, H. A. F-128
Erwin, Mark F-108
Fincher, Lizzie F-16
Fletcher, Eula F-617
Fletcher, Howell J. F-418
Foy, Miss F-176, 419
Frisbie, Zilpah F-244, 245, 324, 439, 442
Frye, Pat F-190
Fussell, Tina F-152, 153, 394
Gordon, Aunt Becky F-30, 521
Green, Mrs. A. J. F-146
Green, W. and Clarence F-259, 634
Greene, Manley F-368
Greer, Dr. L G. F-29, 31, 91, 107, 163,
226, 227, 242, 261, 262, 266, 271, 295,
330, 367, 383, 390, 468, 503, 567, 585,
590, 596, 610, 611, 625, 626
Grimes, M. Bryan F-181
Grogan, Fannie F-66
Grogan, Mrs. Julia F-56
Hageman, Susie F-565
Halsey, Hazel F-592
Hanchey, H. H. F-50, 399
Hardin, Addie F-264
Harrison, Blake B. F-416, 431, 458,
480, 631
Hatcher, Howell J. F-60, 209, 411, 451.
457
Hauser, J. F-574
Hauser, Jessie F-18, 514
Hayman, Rev. L. D. F-178, 199. 387
Hearn, Clara F-145. 502
Henderson. Mrs. W. C. (Amy) F-385
Henley, Mittie Ellis F-577
Herring. Mrs. H. G. F-591
Hicks, Mrs. Nora F-28, 667
6i6
INDEX OF SINGERS
Holeman, Jean F-9, 42, 82, 102, ill,
151, 162, 311, 328
Holton, Aura F-20, 277
Holton, S. M. F-52, 515
Houck, Herman F-306
Houston F-307
Huckabee, W. T., Jr. F-207, 432
Hughes, Mrs. Arizona F-587
Hughes, Mrs. W. W. F-268
James, Claude F-407, 498
Johnson, J. D., Jr. F-167, 210, 378
Johnson, Lois F-365
Johnson, Obadiah (Obie) F-38, 196,
248, 318. 518
Jonas, Arlie F-622
Jones, Allie May G-61
Jones, Aries F-214
Jones, Miss E. F. F-391
Jordan, Charles E. F-452
Kennedy, Fronde F-321
Knox, Carl G. F-63, 72, 78, 97, 106,
157, 312, 401, 441, 575
Knox, J. C. F-27
Kuykendall, Otis F-84, 134, 166, 229,
254, 284, 369, 373, 277, 544. 580, 602 ;
G-16
Lancaster, Mrs. Nilla F-464
Lander, W. H. F-648
Lawrence, J. W. F-8
Leary, Thomas F-677, 678, 679, 680,
681, 682, 683, 684
Lee. Mrs. Minnie F-124, 143, 386, 609
Li taker, K. W. F-347, 421, 434, 650
Litaker, Thomas F-212, 412, 428, 433,
497, 637, 641, 651, 659
Love, Will F-495, 509, 531, 549, 550,
657
Lovell, E. C. F-440, 665
Lunsford, Bascom Lamar F-2, 43, 46,
58, 85, 90, 93, 109, 174, 177, 205, 217,
232, 263, 265, 280, 290, 292, 305, 329,
374, 382, 389, 404, 406, 425, 453, 484,
510, 522, 584, 593, 600, 601, 603, 605,
612, 624, 639, 656, 674
Lunsford, Mrs. Ruby F-243
Lyon, James A., Jr. F-168
Lyon, James E., Jr. F-398, 409
Mainer, W. J. F-51, 62, 473
Mangum, Eura F-164, 346, 395, 430;
G-39
Mangum, Eva F-114
Mansfield, Mamie F-36, 40, 140, 281,
3i.=5
Martin, Averie M. F-92
Martin, H. C. F-59, 175, 182
McCauley, Maria F-12
McGee, Andy F-25S
McNeill, Hattie F-103, 270, 274, 279,
285, 286, 294, 573, 604, 642, 676
Miller, Beulah F-633
Miller, Mrs. J. J. F-6r4
Miller, Mrs. Joseph F-288, 310
Miller, Mrs. Myra Barnett F-13, 89,
221, 222, 249, 336, 535; G-18
Miller, Walter F. F-203
Miller, Walter J. F-403, 420, 471, 638;
G-59
Minnish, Pearl F-139, S16
Minnish, Mrs. W. L. F-543
Moody, Mrs. B. M. F-636
Moody, Mrs. Cynthia F-524
Moody, Fred F-172
Moore, Arthur F-204
Moore, Mrs. Arthur M. F-304
Munsford, G. T. F-216
Murphy, Mrs. C. C. F-381, 446
Murphy, G. W. F-132
Myers, E. F-474, 539
Neal, Thomas T. F-538, 551
Newsom, D. W. F-120
Nichols, Madge F-283
Norris, Mrs. F-513, 556
Norris, E. G. F-236
Overton, Doris F-308, 429
Perdue, Mrs. C. P. see Robbins, Jewel
Perry, Mrs. Peggy F-309
Peterson, Jessie L. F-165
Pittman Brothers F-487
Poole, L T. F-37
Poovey, W. E. F-95
Powles, Joe F-1S5, 630
Prather, Mrs. Nancy F-69
Price, Alexander F-81, 345
Pridgen, Mrs. Lorraine Isley F-215,
370
Pridgen, Mrs. W. L. F-171, 179, 340,
647; G-si
Proffitt, Frank F-239
Proffitt. Oliver F-6s
Pruitt, Doyle F-342
Randall, Willard F-112
Rayfield, Mrs. Polly F-235
Reese, Wagner A. F-301
Reynolds, Letch F-219
Riddick G-33
Robbins, Jewel F-6, 26, 34, 68, 79, 83,
86, 104, 137, 169, 170, 185, 186, 189,
200, 208, 211, 276, 332, 334, 348,
352, 353, 355, 356, 357, 360, 361,
364. 366, 371, 375, 392, 393, 410,
413. 414, 426, 435. 436, 444, 449,
456, 475, 478, 482. 505, 519, 532, 533,
INDEX OF SINGERS
617
537, 542, 545, 546, 552, 559, 5^0, 563,
570, 571, 607, 627, 628, 640, 662, 664,
669, 671 ; G-15, 28, 32
Robinson, G. S. F-282, 303, 331, 362,
369, 461
Russell, Kate S. F-99, 159, 230, 547
Sander, W. S. F-485
Sanders, 'Bunk' F-536
Sanders, Mrs. Eliza F-597
Schinhan, Mrs. Elizabeth Logan F-44
Searcey, Nell G-4
Shell, Miss F-133
Shuman, Florence F-49, 251
Smith, Bennett F-70, 358
Smith, E. J. F"-70
Smith, Mrs. Emma F-384
Smith, G. F-149
Smith, Gurney F-125
Smith, Thomas F-94
Stamey, Ephraim F-479, 526
Stamey, Mrs. Ephraim F-23, 123, 220,
223, 599
Stamps, Minnie F-447
Strawbridge, Mary F-156
Suttle, Mrs. Beatrice Nye G-24
Sutton, Mrs. Maud Minnish F-257, 338,
477
Swaringen, R. A. F-344
Thomas, C. F. F-350
Thomas, Catherine F-359
Tillett, Mr. and Mrs. F-415
Tillett, C. K. F-7, 76, 160, 198, 258,
302, 380, 396, 568, 606, 618, 633; G-
.31
Tillett, Mrs. C K. F-273
Tingle, Jeanctte F-402, 508
Trivettc, Mrs. John F-238, 246
Tugman, Alexander F-24, (192), 314
Tuttle, Emeth F-5
Vaughan, W. N. F-ioo, 437
Wagoner, Lura F-32
Walker, Eliza!)cth F-144
Walton, Beulah F-39, 138, 187, 267,
316, 323, 576 ; G-20, 30, 56
Ware, R. D. F-118, 326, 540, 578
Watson, Faye F-299
Weatherman, Ruth F-71
Weaver, Luna F-343
Webb, Pearle F-3, 41, ^j, loi, 173,
233, 320, 322, 325, ziz, 494, 685 ; G-
42
White, Newman L F-213, 493, 504, 529,
530, 548, 653
Wilson, Ada F-135
Wilson, Mrs. Asa L. F-S55
Wilson, Mrs. Ewart F-19, 21, 55, 218,
231, 2Z7, 335, ZZ7, 402, 472, 481, 613,
623
Wilson, Mrs. Leander F-470
Wiseman F-307
Wiseman, Bonnie F-80, 195, 376, 405,
408, 644
Wiseman, H. F-339
Wiseman, Mrs. Manassa F-206, 668
Wright, J. T. C. F-73, 114, 192, 319,
569; G-44
INDEX OF TITLES AND VARIANT TITLES
Folk songs liave been indexed by title number, followed by a semicolon, and
then by page reference. Editor's titles are shoivn in italics. Where titles of
variants are identical with editorial titles, these have been indexed under the
latter and are indicated by the repetition of the title number followed by ap-
propriate letters (e.g., 284, 284BCE). The games, pp. 306 ff., are indexed by
page reference only.
Ace and Deuce of Diamonds 50E ; 44! .
Adam and Eve 341 G; 24of.
Adznce to Sinners 64 ; 49
Advice to Young Ladies 254A ; i73f.
Ain't Gonna Grieve My Lord No More
549; 344f-
Ain't Gonna Rain No More 430 ; 288-
90
Ain't Gonna Worry My Lord No
More 549 ; 344f.
Alabama Gals 81 C; 58f.
All Around the Ring 545
All God's Chillun Got Shoes 550,
550A ; 345f.
345f-
All My Sins Been Taken Away 551 ;
346f.
All Round the Mountain 256C; i8of.
All Round the Mountain, Charming
Betsy 256; i8of.
Alphabet of the Ship 229; I43f.
And Must I Be to Judgment Brought?
613; 380
Angels Roll Dem Stones Azvay 552 ;
347f-
Animal Fair, The 180; I28f.
Arkansas Traveler (II) 331, 331 A;
230-33
As I Walked Out Last Christmas Day
258B; i8if.
As I Went Doztm in the Valley to Pray
553; 348f.
Away on a Hill 682 ; 421 f.
Baa, Baa Black Sheep 542
Babe of Bethlehem 554; 349f.
Baptist, Baptist is My Name 555 ; 350f.
Barnyard Song 124, 124F; 102-04
Be Home Early 27 ; 27f.
Bed-Bug, The'477J; 316
Behind Those Walls of Gray 735 ;
466f.
Beware, Oh Take Care 248H ; I56f.
Billy 288A ; 208
Billy Boy 121, i2iA(i)B; 97-99
Billy My Darling 288 ; 208
Bingo 137 ; no
Bingo 537
Birds Courting 152; 117
Birmingham Jail 281 B; 200f.
Black-Eyed Daisy, The 310; 222f.
Black-Eyed Susie 311, 311B; 223
Black Sheep, Black Sheep, Where'd
You Leave Your Lamb? 117B; 84f.
Blue-Eyed Girl, The 286D ; 207f.
Blue Ridge Mountain Blues 401 ; 265f.
Blow Gabriel 755 ; 48if.
Blow the Man Down 778 ; 499
Boating Song 222 ; 143
Bobby Shaftoe 132; 108
Boil Them Cabbage Down 432 ; 290
Bonnie Blue Eyes 284, 284BCE ; 203-
5
Broder Eton Got de Coon 433 • 291
Broom Field Town 49A ; 43
Brother Eben's Got a Coon 433 ; 291
Brother Green 393, 393 A ; 261 f.
Buffalo Gals 81 ; 57-59
Bushwhacker's Song 383 ; 256f.
Bye, Baby Bunting 112; 81
By O' Baby Bunting 112(1) ; 81
Cain and Abel 557; 35if.
Can't Cross Jordan 558, 558A ; 352-54
Captain Jinks 84 ; 6o{.
Carolina Crew, The 328 ; 229
Charming Betsy 256B ; 180
Charming Billy 121 AA (2) ; 97-99
Chase the Squirrel 512
Cherokee Hymn 658; 404
Chewing Gum Song 670; 4i2f.
Chicken in the Bread Tray 158; 119
Childhood Days 683 ; 422
Christ Was a Weary Traveler 559 ;
354f-
Cindy 404, 404DG ; 267-69
Cindy : a Jig 404A ; 267
Clare de Kitchen 413, 413B; 277
Climb Up Jacob's Ladder S36B ; 335!.
Qimbin' Up Jacob's Ladder 527A ; 333
Climbing Jacob's Ladder 5360(1) ; 336
Cobbler, The 149; Ii4f.
Coffee Grows on White Oak Trees 78 ;
5Sf-
INDEX OF TITLES AND VARIANT TITLES
Cold Frosty Morning 474; 3i3f.
Cold Mountaiyis 277, 277(1) ; \()6i.
Come All Ye Fair and Tender Ladies
254D; I74f.
Come All Ye young Ladies 662; 407
Come All You Fair and Tender Ladies
254C; 174
Come, Thou Fount of hi'cry Blessing
562; 355f.
Coonshine 738 ; 4,6gi.
Coonshine, Ladies, Coonshine 738 ;
469f.
Corn Shucking Song 194C; I32f.
Corn Shucking Song : Blow, Horn,
Blow 1 96 A; 135
Courting Cage, The 3 ; 6f.
Cradle Song 114; 81 f.
Creation 523; 331 f
Cripple Creek 299, 299BC; 213-15
Cwnberland Gap 329 ; 229f.
Daniel in the Lion's Den 524 ; 332
Dark and Stormy Night 20B ; 23
Dark Was the Night 526, 526C; 333
Darling. You Can't Love But One 103 ;
74-
Dearest Mae 405, 405 D ; 269!.
Dese Bones Gwine to Rise Again
523A; 331 f.
Didfi't It Rain? 564, 564BE; 356-58
Dis Morning 739 ; 47of.
Doctor Jones 90 ; 70
Dolly-Play Song, The 96; 73
Don't Tell Pa 307CI ; 217-19
Don't You Grieve After Me 527; 333
Do-wn at Widow Johnson's 740; 471
Dozim by De Ribberside 566, 566(1) ;
358f.
Doivn in the Valley (Birmingham Jail)
281 ; 20of.
Down in the Valley to Pray 551 ; 346f.
Down in the Valley to Pray 553AA-
(I); 348f.
Down Under the Hill 41 ; 4of.
Draw a Bucket of Water AD 533f.
Drinking Song 20E ; 24
Drunkard's Doom, The 21 ; 24{.
Drunkard's Dream 756 ; 482f.
Drunkard's Dream, The ( i ) 22, 22-
AD ; 25f.
Drunkard's Hell, The 20 ; 23
Drunkard's Home. The 663 ; 407f.
Drunkard's Lone Child, The 25 ; 26
Drunkard's Wife, The 28C ; 29
Dry Bones 757 ; 483f.
Duke of York. The 99; 74
Dummy Line, The 435, 435 B ; 29if.
Dying Hobo, The 360, 360A ; 247
619
Early One Morning in the Month of
July 377; 253f.
Eliza Jane (H) 437; 292-94
FJla Rhee 412 ; 276
Enoch Arden 684; 422f.
Essie Dear 685 ; 423
Everybody's Gal is My Gal 438; 294-
97
Fairy's Lullaby 114; 81 f.
Faithful Friend 687 ; 424{.
False Maria 250H ; i6if.
False True Lover, The 258; 181-83
Fare You Well, My Ozvn True Love
109; 78f.
Farmer in the Dell AB 535f.
Farmer's Boy, The 88, 88AB ; 67-69
Flitting Away 688; 425-27
Flute Song 545f.
Fly Around, My Blue-Eyed Girl 286;
205-08
Fox and the Goose, The 129, 129 A ; 107
Frail Wildwood Flower, The 263C ;
188
Frail Wildwood Flowers, The 263E;
i88f.
Free as a Little Bird 255HH(i) ; i78f.
Frog in the Meadow D 535
Frog in the Middle D 535
Frog Went A-Courtin', A i2oABB(i)
DE CC DD EE; 85-89, 91-94
Froggie Went A-Courtin' 120BB; 90
Frog's Courtship, The 120; 85-96
Garden Gate, The 319; 226
Georgia Buck 500, 500 ABC ; 323-25
Get Along Down Town 415B; 278f.
Get on Down to Richmond Town
41 5A; 277f.
Gimme Oil in My Lamp 758 ; 484!.
Git on Boa'd Little Children 529C;
333f-
Go Down, Moses 570 ; 3601.
Go Round the Mountain 530f.
Go Tell Aunt Patsy 128; io6{.
Go Tell Aunt Rhoda 544
Go to Sleep, My Little Pickaninny
116:83
God Pity Bessie, the Drunkard's Lone
Child 25B ; 26f.
Goin' Down to Town 415J; 279f.
Goin' Round the Mountain 256D ; 181
Going Back to Georgia 248G ; I55f.
Going Doum the Railroad 537f.
Going to Georgia 248B ; 154
Going to Heaven by the Light of the
Moon 569; 359f-
Golden Slippers 571, 571(1) ; 36if.
Good News Chariot's Comin' 572 ;
362f.
620
INDEX OF TITLES AND VARIANT TITLES
Good Old Rebel, The 391 ; 259f.
Goodbye 689 ; ^271.
Goodbye, John 690; 428f.
Goodbye, My Blue Bell 395 ; 264
Goodbye to the Cracking of the Pistols
776 ; 497f .
Gospel Train, The 529; 333f.
Got to Cross Jordan 759 ; 485
Grandma Grunts 145; ii2f.
Granny, Hill Your Dog Bite? 544
Green Gravel 510
Green Grows the Wild Olive 280C ;
I99f.
Green Leaves A 525-27
Green Leaves, Green Leaves F 527
Green Trees Bending 51 3f.
Ground Hog I94f; 134
Ground Hog, The 221 BB(i)CDE;
140-42
Guinea Negro Song 472, 472A ; 3i2f.
Gzvine Doitm Jordan 576 ; 363f.
Gwine Round Dis Mountain 741 ; 472
Had an Old Shoe 98 ; 73f ■
Hanging Johnnie 779 ; 499f .
Happy Land 539
Hard Times 332BD ; 231-33
Haul Away, Joe 780 ; 50of.
Have a Little Banjo Beating 427 ;
285f.
He Never Came Back 394 ; 262!.
Hear That Rumbling (I Heard a
Mighty Rumbling) 577A ; 364f.
Heathen Chinese, The 233 ; i45f .
Heaven Is a Beautiful Place 579; 366f.
Heaven Is a Beautiful Place, I Know
S79A ; 366f.
Hell Broke Loose in Georgia 775 ;
496f.
Here We Go in a Ring 546
Hicks' Farewell 530 ; 334
Hidden Still, The 41 ; 4of .
High Topped Shoes 301, 301B ; 2isf.
Hikin' Doivn de Main Line 742 ; 472f.
Hog Driver's Ballad K 5i9f.
Hog Drovers AIL 517-20
Hole in the Bucket 731 ; 462-64
Honey Babe 743 ; 473
Honey in the Gum B 526
Hop Along 732; 464
Hop Light, Ladies 85, 8sA ; 61
Hop Up de Doodle 474B ; 3i3f.
Housekeeper's Tragedy, A 312, 312A;
223f.
How I Love the Old Black Cat 147;
ii3f-
Hoiv I Love Them Pretty Yellow Gals
744; 473f-
Hullabaloo Balay 781 ; 501
Humble Farmer, The 213 ; I37f.
Hump-back Mule 745 ; 474f.
Hung My Bucket on de White Folk's
Fence 475; 314
Hus Keep uh Rollin' 614A ; 38of.
Hush-a By 11 5A; 82f.
Hush-a Bye, Don't You Cry 115; 82f.
/ Ain't A-Gonna Work a No Mo' 242 ;
152
/ Am Bound for the Promised Land
581 ; 367f.
/ Am Standing in the Shoes of John
589; 371
/ Been a Miner 240; 151
I Bought Me a Hen 124BC; I02f.
/ Do Love Sugar in My Coffee O
92B ; 7if.
/ Do Wonder Is My Mother on That
Train 586 ; 368-70
/ Don't Let the Girls Worry My Mind
733 ; 464f.
/ Don't Love Old Satan 584, 584A ;
368
I Got a Girl 448 ; 299
I Got a Long, Tall Yaller Gal 450B ;
301
/ Got de Hezotation Stockings and de
Hezotation Shoes 507 ; 326
/ Have a Father in My Native Land
231; 145
/ Have Long Since Been Learned
588; 370f.
/ Have No Mother Now 664 ; 4o8f.
I Have No Mother Now 665 ; 409f.
/ Have No Mother Now 666 ; 410
I Heard a Mighty Lumbering 577C ;
365
I Heard a Mighty Rumblin' 577B ;
364f.
I Love Coffee, I Love Tea 91 D; 71
/ Love Little Willie, I Do Mamma
307; 217-19
/ Loved You Better Than You Know
693; 43of.
I Once Loved a Young man 449 ( i ) ;
300f.
/ Want to be Somebody's Darling 696 ;
434
/ Wanter Jine de Ban 598 ; 372f.
/ Was Born Ten Thousand Years Ago
426, 426B ; 284f.
/ Was Once in a Dark and Lonesome
Valley 599; 373
I Went Dozvn to My Gul's House Las'
Night 451 ; 301 f.
/ Wish I Was a Single Girl Again 28 ;
28
I Wish I Was Single Again 19I; 21
INDEX OF TITLES AND VARIANT TITLES
621
I Wish I Were Single Again 28A ; 28f,
/ IVish My Captain Would Go Blind
244; 153
/ Wish That Girl Was Mine 298; 213
/ Wonder As I IVandcr 600; 373f.
/ Wonder Where's the Gambling Man
659; 405
/ Wouldn't Marry 17, 17R; 17, 20
I'd Rather Be Dead 443 ; 297
I'll Be All Smiles Tonight 691 ; 429f.
I'll Fire Dis Trip 222; 143
I'll Give You My Love 692; 430
I'll Hang My Harp on a Willow Tree
259, 259 BB(i); 183-85
I'll Never Get Drunk Any More 36,
36A; 35f-
I'll Put My Knapsack on My Back
78G; 56
I'm a Good Old Rebel 391 B ; 259f.
I'm Alone 31B ; 32
Tvi Alone, All Alone 31 ; 32
I'm As Free a Little Bird As I Can
^ Be 255G; I77f.
I'm Determined to Be an Old Maid
17HL; i7f.
I'm Goin' to Ride in Pharaoh's Chariot
^ 591 ; 37if-
I'm Going Dozvn the Mobile Line 746 ;
^475
I'm Going Dounv the Road Feeling Bad
441 ; 297
I'm Going Home 747 ; 475f.
I'm Going Over the Rocky Mountains
278B; 198
I'm Gwine Away to Georgia 449,
449(1) ; 299-301
I'm My Mammy's Youngest Son 107A ;
76f.
I'jn Tired of Liznng Alone 272; 190
I'se A-Running 748 ; 477
I've Been to the 'Bama and I Just Got
Back 498 ; 322
I've Been Working on the Railroad
234 A ; i46f.
If Amid the Din of Battle 390D ; 258f.
If the Train Runs a Wreck 285 ; 205
// Yoti Don't Believe I'm Sinking 447,
447 A B ; 298f.
// Yo%i Meet a Woman in the Morning
446 ; 298
If You Will Only Be My Bride 3B ; 7
In and Out the Window 76 ; 55
In the Pines, Where the Sun Never
Shines 283 ; 201-3
In the Shadow of the Pines 694; 431-
33
In the Shadow of the Pines 695 ; 433
In the Valley 534 ; 335
Inconstant Lover, The 248; 154-57
Indian Song: Ah, Pore Sinner 593;
372
It Ain't cr Gwine tcr Rain 430A ;
288f.
It Rains and It Blows A 527f.
// Rains and It Hails 527?.
It Snows and It lilows B 528
It Takes a Lon.t,', Tall, Slim, P>iack
Man 450C; 301
Italy iiiE ; 80
Jack of Diamonds 50, 50BC ; 44f.
Jacob's Ladder 536, 536C ; 335!.
Jacob's Ladder 547D; 343f.
Jaybird and the Sparrow, The 89E;
69f.
Jennie Jenkins 69, 69BE; 51-53
Jennie Jones 508
Jesus Born in Bethlehem 537 ; 337
Jesus Lover of My Soul 347 ; 244f.
Jimmy Suttonton jyy ; 4981.
linger Blue 406; 32if.
John Brozmi Had a Little Injun 136,
136A ; no
John, He Baptised Jesus 604 ; 374f.
John Jasper 605, 605A ; 375f.
John Saiv de Hundred and Forty-
Four Thousand 539; 337f.
John Sazi' the Holy Ntnnber 538; 337
Johnny, Oh Johnny 122C ; loof.
Johnny IVas a Baptist 540; 338
Johnson Boys 338, 338HB(i) ; 237f.
Johnson's Mule 512; 327f.
Jolly Miller, The 522
Jolly Soldier, The 367 ; 248f.
Jonah and the Whale 346, 346AC ; 242-
44
Joscphus and Bohunkus 321 ; 227
Journeyman, The 49 ; 43
Julie Jenkins 69A ; Sif.
Just Down to the Gate 319; 226
Just Give Him One More as He Goes
697f.
Just Kick the Dust Over My Coffin
40; 39f-
Keeper, The 680; 4i9f.
Kicking Mule, The 513 ; 328
Kind Sir, I See You've Come Again
3A; 6f.
Kindling Wood 324 ; 228
King William Was King George's Son
523f.
King William Was King James's Son
522 f.
Kissing Song 313 ; 224
Kitchie Ki-Me-0 120 App. i, 2, 3; 94-
96
Kitty Alone 114; 81 f.
622
INDEX OF TITLES AND VARIANT TITLES
Kitty Kline 255, 255ABD; 175-79
Kitty Wells 411, 411FG; 273-76
Lady in the Dining Room sogf.
Lanky, Lucy, Lister 782 ; 50if.
Laurel Valley 260A ; 185
Lazy Mary 509
Leap Frog John 698 ; 435f .
Leather Breeches 322 ; 227
Letter That Never Came, The 699;
436f.
Like an Owl in the Desert 304; 2i6f.
Lily White Robe 607 ; 376f .
Little Alabama Coon 116A; 83f.
Little Brown Jug 33, 33A ; 35
Little Bunch of Roses 700 ; 437
Little David, Play on Your Harp 609,
609(1) ; 377f-
Little Family, The 610; 378f.
Little Family of Bethany, The 610B ;
378f.
Little Johnny Miller 75C ; 54f.
Little Log Cabin in the Lane, The 702 ;
439f.
Little Logivood Cabin, The 701 ; 437-
39
Little More Cider, A 46DF; 4if.
Little More Cider Too, A 46 ; 4if.
Little More Sugar in My Coffee, A
92B ; 7if.
Little Sally Waters B 529f.
Little Sissy 531
Little Sparrow 254; 173-75
Little Turtle Dove 249; 157
Liza Jane 437 ; 292-94
London Bridge AK 532f.
Lone Pilgrim, The 542, 542AA ( i ) B ;
338-40
Lonesome Dove, The 305 ; 217
Lonesome Pine, The 283C ; 201
Lonesome Road 292; 210
Long White Robe 518, 518 (i) ; 330f.
I^ooby Loo 538
Looby Lou 538
Look Up, Look Down That Lonesome
Road 292B ; 210
Lord, I Never Will Come Back Here
No Mo' 349; 245
Love Somebody 107C; 77f.
Lula Falls 703 ; 440f.
Lula Wall 704; 441 f.
Lullaby 675 ; 4i6f.
Lulu 183 ; 129
Lynchburg Toum 415, 415E; 277-80
McDonald's Farm 125, 125A; 104-06
Madam, I Have Gold and Silver 12;
II
Madam, Will You Walk? 2, 2AB ; 5f.
Mammy in the Kitchen 497 ; 322
Adan Who Wouldn't Hoe His Corn,
The 216; I38f.
Many Miles Apart 705 ; 442f.
Maple on the Hill 706 ; 443
Marching Round the Levee 524f.
Marching Round the Love-Ring 76 ; 55
Marching to Quebec 524
Martha and Mary 610C; 379
Mary, Weep No More for Me 707 ;
443f-
Mary Wore a Golden Chain S43B ;
340f.
Mary Wore Three Links of Chain
543B; 340f.
Mary's Mad S46f.
Massa Had a Yaller Gal 406 ; 27of .
Merry Green Fields of the Low Lands,
The 125D; i05f.
Midnight Dew, The 285 ; 205
Mike and Jerry 749 ; 477
Miller Boy, The 75 ; 54f.
Miss Julie Ann Glover 410; 273
Miss Lucy 547
Miss Susanna Jane 511
Mississippi Lawyer 671 ; 4i3f.
Mole in the Ground 173, 173 (i) ; 124-
26
Molly Darling 708 ; 444f .
Molly Darling 709; 445f.
Morality 667; 4iof.
Moses Smote the Waters 612; 379f.
Mr. Bull Frog 676 ; 417
My Darling Little Pink 78D ; S5f.
My Hair Was Black as Ribbon 710 ;
446
My Home's Across the Smoky Moun-
'tains 278, 278A; I97f.
My Mammy Don't Love Me 314;
224f.
My Mammy Told Me 316, 316A; 225f.
My Name is Dinah, From South Caro-
lina 324 B ; 228
My Pretty Quadroon yil ; 446f.
Nancy Till 409, 409B ; 272
Needle's Eye, The 74; 54
Negro Fragment 37C; 37f.
Negro Hollow 387, 387 (i) ; 3i9f.
Negro Song 462 ; 307f.
Negro Song 672 ; 418
Never Mind 644C ; 40of.
Never Mind Your Knapsack 382; 255
New Burying Ground, The 614, 614D ;
38of.
New River Train 103 ; 74f.
Nigger and the Bee, The 750; 478f.
Nigger, Nigqer. Never Die 541
No Hidin Place 616, 616A; 381-83
No, Sir 14, i4BB(i)D: 15-17
INDEX OF TITLES AND VARIANT TITLES
Nuts in May 521 f.
O Bear Me Away on Your Snoivy
White IVing 760; 485f.
O Brother Green, Come to Me 393C ;
261 f.
O, My Loving Mother 547B ; 343
O When I Die Don't Bury Me Deep
38F ; 38f .
Oats and Beans and Barlcv ABC 5i4f.
SMf-
Oh, Dat Watermduni 454; 302f.
Oh, Dat Watermilyon 454B ; 302f.
Oh, Dear Doctor 540
Oh, Dear, What Can the Matter Be?
122, 122A ; 99-101
Oh, Goodbye Babe, Forever More
37B ; 36f.
Oh, Grandma Had Some Very Fine
Geese 125C; 105
Oh! I Had a Good Woman 751 ; 479
Oh, Lordy, Come This A-Way 342 ;
241 f.
Oh Lovely, Conic This Way 98; 73f.
Oh, Mourner 423I ; 282f.
Oh, Pretty Polly 70; ssi.
Oh, Susanna! 408, 408 A ; 27if.
Oh, Where Shall I Be? 761 ; 486
or Sally Goodin 89A ; 69
Old and Gray 712 ; 447f.
Old Arm-chair, The 668; 4iif.
Old Aunt Dinah 487 ; 3i9f.
Old Bob Ridley 194, 194D ; 131-34
Old Dan Tucker 82, 82B ; 59f.
Old Darkey Joe 421 B ; 282
Old Folks Better Up and Git to Bed
752; 479f.
Old Grey Goose 128; io6f.
Old Grey Mare, The 175 ; 126!.
Old Grimes Is Dead 321A ; 227
Old Jim Crow 413A ; 276
Old Joe Clark 86, 86BB(i)DEFG;
61-67
Old Maid's Song 17O ; I9f.
Old Man, An 17M; i8f.
Old Man, The 9C; 9f.
Old Man's Courtship, The 9, gi.
Old Man Hippety Hop 5o8f.
Old Molly Hare (Mr. Rabbit) 167,
167BC; 123
Old Napper 123C; loif.
Old Raccoon 543
Old Rattler 161G; i2of.
Old Rosin T Beau 32 C2) ; 34f.
Old Rosin the Beau 32; 32f.
Old Rosin the Bow 32(1) ; 33f.
Old Satan 624A ; 387f.
Old Satan's Mad 624, 624B ; 387-89
Old Scotch Drinking Song 660; 406
623
Old Ship of Zion, The 623, 623ABCD ;
383-87
Old Skin and Bones 142F; 112
Old Smokey 253 A A ( i ) A ( 2 ) A ( 4 ) ;
170-72
Old Svwky 253, 253CD ; 170-73
Old Sozv. The 178; i27f.
Old Stepstonc. The 713; 448f.
Old Turkey Buzzard 105 15; 76
Old Turkey Hen, 'The 203; I3sf.
Old Turkey Hen: Cornshucking Hol-
low 203 ; 1351.
Old Uncle Ned 420D ; 281
Old Witch 5o8f.
Old I'Voman ami Her Pig, The 130;
I07f.
Old Woman's Little Pig, The 130B;
I07f.
Old Women All Skin and Bones 142;
1 1 if.
Ole Marse Robert 3QI D ; 260
Ole Molly Hare 167B; 123
On a Dark and Stormy Night 20C ;
23f.
On Top of Old Smoky 253A(3) ; i7if.
One Morning 13E; I4f.
One Morning in May 13, i3AA(i)-
CD ; 11-14
Our Fathers, They'll Be There 627 ;
389
Over the Garden Wall 714; 449f.
Over the River to Feed the Sheep
67A; 50
Owens Fort 383 ; 256f.
Owl in the Desert, The 304; 2i6f.
Page's Train Runs so Fast 104 ; 75
Pale Wildwood Flower, The 263 ; 187-
89
Paper of Pins iH ; 4!
Paper of Pins, A i, lE; 3f.
Paper of Pins, The lA; 3
Parody, A 544
Pasquotank 189; 130
Peas in the Pot, Hoe Cake A-Bakin'
547
Pharaoh's Army 545, 545D ; 34if.
Pickin Out Corn 212, 212A; 137
Pickle My Bones in Alcohol 38; 38
Pig in the Parlor 80 ; 56f .
Plea for Mercy, A 774 ; 496
Poor Johnny 250E ; 160
Poor Little Kitty Puss 108 ; 78
Poor Little Lamb Cries 'Mammy!'
117; 84f.
Poor Married Man 309, 309 A A ( i ) B ;
219-22
Poor Old Lazarus 628 ; 389f.
Poor Polly 62E ; 48
Pore Little Kitty Puss 108; 78
INDEX OF TITLES AND VARIANT TITLES
624
Possum Tree 194E; I33f.
Possum Up a 'Simmon Tree 161 ; 119-
21
Possum Up a 'Simmon Tree 194B ;
I3if-
Possum Up de 'Simmon Trees 161B;
119
Preacher and the Bear, The 425, 425B ;
283f.
Preacher in the Pulpit 342; 24if.
Prettiest Girl I Ever Saw, The 47 ;
42f.
Pretty Bessie 715; 450
Pretty Little Girl 283D ; 202!.
Pretty Pear Tree, The 133 ; io8f.
Pretty Peggy 381, 381(1) ; 254f.
Pretty Polly 29oA(i)A(2) ; 209f.
Pretty Sarah 252C ; 169
Pretty Saro 252, 252AA(i)BB(i)D ;
166-70
Prisoner's Song, The 350 ; 246
Quaker Courtship 525
Raccoon Am a Cunning Thing, De
162; I2lf.
Raccoon Has a Bushy Tail, De 163A ;
122
Raccoon Has a Bushy Tail, The 163 ;
I22f.
Raccoon Is a Cunning Thing, The
162C; I2lf.
Raccoon Up De Tree 161E; 120
Raccoon Wears a Bushy Tail 163B ;
I22f.
Railroad Dinah Gal 493 ; 321
Rain Come Wet Me 490 ; 320
Rain Come Wet Me 544
Rainbow Division 736 ; 467-69
Raise a Ruckus Tonight 499, 499B ;
323
Ranchy, Tanchy, Teen 5i6f.
Raven Black Hair 263A ; 187
Red River Valley 260, 260G; 185-87
Red, White, and Blue 280, 280A; 198-
200
Red, White, and Blue, The 375B ; 252
Red, White, and Red 375 ; 252
Reuben 236C; 149
Reuben's Train 236, 236 AD ; 148-50
Revolutionary War Song 367A ; 248f.
Ridin' of a Goat, Leadin' of a Sheep
677; 4i7f-
Riding in a Sleigh 716; 451
Rig -a- jig 528f.
Rig-a Jig-Jig 528f.
Ring Around the Rosy F 536
Ring O Roses F 536
River's Up and Still A-rising 326; 228
Road is Rocky, The 762 ; 487
Rock of Ages 547; 342-44
Rock, Rock, Old Joe Clark 86C; 63!.
Roll 548
Roll Down Dem Bales 0' Cotton 243 ;
i52f.
Roll, Jordan, Roll 555 ; 35of.
Roll, Jordan, Roll 631, 631 A; 390f.
Root Hog or Die 372 ; 250
Rosalie, the Prairie Flower 717; 45if.
Rough Rocky Road 632, 632B ; 391
Run Here, Doctor 246; 153
Run Here, Doctor, Run Here Quick
246; 153
Run, Nigger, Run 457 ; 303
Run, Nigger, Run 544
Run, Nigger, Run, or Paderole'll
Ketch You 457F; 303
Run, Sallie, My Gal 204; 136
Sadie Ray 718; 452f.
Sadie Ray 719; 453
Said the Blackbird to the Crow 156,
156B; ii7f.
Sailor's Chanty, A 231 ; 145
Sally Ann 673; 4i4f.
Sally Goodin 89, 89AB ; 69f.
Sally, Molly, Polly 209; 136
Sally, Molly, Polly: Pig Call 209; 136
Sally Walker A 529
Sally Went to Preachin 458; 302f.
Satan's Sad and I Am Glad 624E ;
388f.
Saturday Night and Sunday Too 459;
304
Scotland's Btirning 150; 115
Scottish Drinking Song 661 ; 406
Seven Long Years 12; 11
Seven Long Years 29A(i) ; 3of.
Seven Long Years 351 ; 246f.
Seven Long Years 720; 453f.
Seven Long Years Tve Been Married
29, 29 A B ; 29-31
Shady Grove 485, 485 A ; 3i8f.
Share 'em 510; 326f.
She Loves Coffee and I Love Tea 91 ;
71
Sheep Shell Corn 196C; 135
Sheep Shell Corn by the Rattle of His
Horn 196; 135
She'll Be Germing 'Round the Moun-
tain 460 ; 304!.
Sherman Valley 260B ; i8sf.
She's My Yaller Girl 406C ; 27of.
Shoe My Love 549
Shoot Your Dice and Have Your Fun
51; 45
Short'nin' Bread 461 ; 305-07
Shortenin' Bread 461 DG; 3o6f.
INDEX OF TITLES AND VARIANT TITLES
625
Shortening Bread 461 C; 305 f.
Should I Prove False to Thee 258D ;
l82f.
Shout .-lIoiHi and Pray Aloiu/ 633; 392
Shout, Little Lula 183; 129
Sliozu Mc the Way to Go Home, Babe
37; 36f.
Sing Polly Wolly Doodle 462 ; 307f .
Singing in the Lane 729; 461
Sinner Man 616 A(i) ; 382f.
Sinner, You Better Take Heed 586 ;
368-70
Sister Mary Came A-Seeking Re-
ligion 552; 347f.
Skip to My Loll 520
Snuff Box 734 ; 465f.
Soldier's Pareivcll, The 376, 376A ;
252f.
Soldier, Soldier, Won't You Marry
Me? 7, 7CD ; 8f.
Some Folks Say That a Nigger Won't
Steal 423 ; 282f.
Some of These Days 517, 517B; 329{.
Some of These Days, and It Won't Be
Long. 241, 2418 ; I5if.
Some Twenty Years Ago 335B ; 234f.
Somebody 275, 275B ; I94f.
Somebody's Knocking at Voter Door
635 ; 392f.
Somebody's Tall and Handsome 275C ;
I94f.
Soon as My Foot Struck Zion 636,
636AB; 393-95
Sorghum Molasses 386, 386(1) ; 257f.
Sourzcood Mountain 251, 25iAA(i)-
BFGLM; 162-66
Southern Jack, A 239; i5of.
Southern Spy's Song 382; 255
Southern Wagon, The 374; 25if.
Sparking on a Sunday Night 721 ;
4S4f;
Standing by the Old Cabin Door 722 ;
455 .
Standing by the Old Garden Gate
723 : 455f •
Standing in the Need of Prayer
637, 637AB ; 395f.
Standing on de Street Doin No Harm
503; 325
Star in the East 763 ; 487f.
Stars Shine Bright, The 724 ; 456f.
Steal Azcay 548
Steam- Ship 151 ; ii5f.
Stick My Head in a Paper Sack 463 ;
308
Storm Bird 764 ; 488
Such a Gittin' up-Stairs 753 ; 48of.
Sucking Cider Through a Strazv 47 ;
42f.
Sugar Babe 482; 3i7f.
Sunny Tennessee 725 ; 457f.
Surely I Can Do 730; 462
Susy Gal 320 ; 226f.
Szirct Birds 295, 295AB; 211-X3
Sivcet Bunch of Daisies 726 ; 458f.
Sivcet Evelina 686 ; 424
Siveet Forget-Me-Not 727 ; 459f.
Siveet Long Ago 728 ; 46of.
Siveet Sunny South, The 400 ; 264f.
Sweet Willie 307E; 218
T'Ain't Coin' To Rain No Mo 430D ;
289f.
Tain't Gon' Rain an' Tain't Gon' Snow
430B ; 289
Taffy Was a Welshman 123; loif.
Talc of a Tramp 358; 247
Tallest Tree in Paradise, The 644D ;
401 f.
Tell Mv Mother 765 ; 488f.
That Blue-Eyed Girl 286AA(i) ; 205-
07
That Old-Time Religion 640, 640(1) ;
397f-
That's Where My Money Goes 464 ;
309
Then We'll Hat'e a New Convention
370; 249f.
There Was a Watermelon 465 ; 309f.
There Was an Old Woman 142A; in
There Was an Old Woman All Skin
and Bones 142B ; iiif.
There's a Hole in the Bottom of the
Sea 135 ; i09f.
There's a Little Wheel A-Turning
641 ; 398f.
There's a Place Prepared 766 ; 489f.
There's More Than One 283C(i) ;
201 f.
Thirty-two Special on a Forty-four
Frame, A 504 ; 325
Thorny Desert 767 ; 49of.
Those High Topped Shoes 301A; 215
Till We Meet Again 394(1) ; 263f.
Too-Hoo, Says the Owl 156E; 118
Too Young to Marry 107 ; 76-78
Tooney O 549
Train . . . Run So Fast 466; 310
Traveler in Arkansas, A 331B; 231
Traz'cling Coon, The 428, 428A ; 286f.
Tree in Paradise 644, 644A ; 399-402
Trip, Play-Mo-Blay 678; 418
Troubled in Mind 290 ; 209f.
True Love 550
Turkey Buzzard 105, 105A; 76
Turkey in the Strazv 94 ; 72
Turtle-Dove, The 249; 157
Tzveh'e Davs of Christmas 511
Tzvcnty (Forty, Sixty) Years Ago
335 ;" 233-35 "
626
INDEX OF TITLES AND VARIANT TITLES
Twenty Years Ago 335. -X ; 233f.
Twinkle, Twinkle, Little Star 674 ;
4i5f-
Two Fleas 192; 130
Tzvo Little Fleas 192 ; 130
Two Little Niggers Black as Tar
467, 467A ; 3iof.
Uncle Ned 420, 420A ; 28of.
Venison 681 ; 42of.
Voodoo Man, The 429; 287f.
Vowels, The 139; 11 of.
Wagoner's Lad, The 250, 25oAB(a)-
B(b)G; 157-63
Wait for the Wagon 374A ; 25if.
Walk in the Parlor 341, 34iE; 238-41
Walkin', Talkin', Jinger Blue 496;
32lf.
Walking Up and Down One Day 149 ;
Ii4f.
Was You There When They Crucified
Jesus? 768; 491
Watchman's Call, The 769; 49if.
Way Back in Heaven 770 ; 492
Way Down on the Old Peedec 421 ;
282
Way Down Yoitdcr in Pasquotank
189; 130
Way Down Yonder in the Lonesome
Valley 547A ; 342f.
Way Dozvn Yonder on Cedar Street
469; 311
Wayfaring Stranger 771 ; 493f.
We Are Marching On 647; 402
We Have a New Pig in the Parlor
80C; 56f.
We'll Sail Away to Heaven 651 ; 402f.
Weasel and the Rat, The 172; 124
Weeping Willow, The 267, 267A ; i89f.
Weevily Wheat 67, 67B ; 5of.
Weevily Wheat 521
Went Dozvn Tozvn 502 ; 325
Whale S A^allowed Jonah, A 346F ; 244
What Makes the Wild Cat Wild? 679 ;
419
What Shall We Do ivith a Drunken
Sailor? 783; 502
What You Gwina Do When the
World's on Fire? 470; 31 if.
When Adam Was Created 53, 53AA-
(i);46f.
When Boys Go A-Courting 337(0;
236f.
When I Am Far Away 7Z7 \ 469
When I Am Far Away Somewhere in
France 72,7', 469
When I Die 38D ; 38
When I Was a Young Girl 10 ; 10
When I Was a Young Girl 513
When I Was Single 19, 19J ; 2if.
When in Death I Calmly Recline 772 ;
494f.
When Johnnie Comes Doivn to Hilo
784; 502f.
When This Cruel War Is Over 390;
258f.
When Young Men Go Courting 337;
235-37
Where My Lord Went to Pray 654;
403f.
li hip Jamboree 230; 144
Whiskey Johnny 785; 503f.
Whistling Girls and Crowing Hens
145; II2f.
White Gal, Yaller Gal, Black Gal
A77, 477CI; 315*'-
White Owl With the White Head,
The 152A ; 117
Who Is My Neighbor? 60; 47
Who's Gonna Love You, Honey? 302;
216
Who Will Shoe My Pretty Little
Feet? 258E; 183
Wicked Girl, The 62 ; 47f.
Wicked Polly 62C ; 47f.
Wild Ashe Deer, The 219; I39f.
Will You Love Me When I'm Old?
273, 273AA(i)CE; 190-94
Willow Tree, The 267H ; 190
Wind That Ball 550
Wish I Had a Needle and Thread
III; 79f .
Wish I Had a Pig in a Pen iiiB ; 79!
Wondrous Love 773 ', 495
Won't You Walk Out Tonight 81 A;
57f.
Wood Hauler, The 340, 340A ; 238
Woodman, Spare That Tree 669; 412
Woodman's Song, A 120L; 89f.
Working on the Railroad 234, 234C ;
146-48
Yaller Gal, The 450; 301
Yankee Soldiers 507
Ye Nations All 554; 349f.
Yes, Ma'am 551
Yonder Come a Yaller Gal 754; 481
You Shall Be Free 478; 3i6f.
You, You. You 276 ; i95f.
Young Folks, Old Folks, Everybody
Come 341 B; 238f.
Young Girls, Take Warning 248CC-
(I) ; I54f-
Zion's Ship 623E ; 386!
INDEX OF FIRST LINES
When the first line docs not appear in the present volume it has been tahen
from vol. III. In five instances (included in brackets) it has been taken from
other sources. The folk songs have been indexed by number, followed by a
semicolon, and then by page reference. The games, pp. 506 ff., are indexed by
page reference only.
A is the anchor, and that we all know 229; 143
A keeper did a-shooting go 680; 419
A letter here for me 699 ; 436
A nigger and a white man playing seven up 478; 317
A poor little man living under the hill 698 ; 435
A possum sat on a simmon tree 194D; 133
A preacher went out huntin' 425 i '> ; 283
A raccoon has a bushy tail 415A; 277
A soldier kissed his wife good-bye 394, (3) 394(0 ; 262, 263
A soldier sat by the road one day 386(1) ; 258
A soldier was a-setting by the road one day 386; 257
A whale did, a w^hale did, a whale did swallow J.J. Jonah 346F ; 244
A white gal sleeps in a folding bed 477C; 315
Ace and Deuce of diamonds 50E ; 45
Adam was the first man ever was invented 341B; 238
Ah, pore sinner, under the rock 593 ; 372
Ah, well do I remember the Wilson patent stove 335^ ; 234
Ain't no hell in Georgie 775 ; 497
All round this ring my honey 545
Am I a soldier of the Cross 581 ; 367
Among the Jewish captives one Daniel there was found 524 ; 332
And I'm one among the dying 736 ; 467
And must I be to judgment brought 613; 380
And the old sow went to the barn to pig 178; 127
And then she asked me how many bridges 716; 451
And when I die don't bury me at all 38D ; 38
As I come down the mountain (3) 67 A ; 50
As I go out on Sunday 36A ; 36
As I walked out last Christmas Day 258B ; 181
As I was a-gwine to tiie mill one day 410; 273
As I went down to Simon's mill 493; 321
Away and away we're bound o'er the mountain 219; 139
Away on a hill, a sunny mountain side 682 ; 421
15-a ba, b-e be 139; m
Baptist, Baptist is my name 555 ; 350
Big piece o' pie 89A ; 69
Billy, my darling, Billy my dear 288A ; 208
Black sheep, black sheep, whcre'd you leave your lamb 117B; 85
Brother Eben's got a coon 433 [cho.] ; 291
Brown gal, she is a pretty queen 477I : 3I5
Bye, baby bunting 112; 81
Bye o' baby bunting 112(1) ; 81
628 INDEX OF FIRST LINES
Can't cross Jordan and you can't go 'round 558A ; 352
Can't you hand down that long white robe 518 [cho.], 518(1) ; 330
Chicken in the bread tray 158; 119
Chickens are crowing in the Sourwood Mountain 251M; 166
Chickens are crowing on the Sourwood Mountains 261 B; 163
Chickens crowing on Sourwood Mountain 251 G; 165
Christ was a weary trav'Ier 559; 355
CHmb up Jacob's ladder, higher and higher 536B ; 335
Cold mountains here are all around me 277, 277(1) ; 196, 197
Come all ye fair and tender ladies 254A ; 173
Come all ye sons of freedom and join our Southern band 374A ; 251
Come all ye young ladies while sweethearts are plenty 662 ; 407
Come all ye young people, I'll sing you a song 332B ; 232
Come all you fair and tender ladies 254C, 254D ; 174, 175
[Come back, come back, my own true love] 687; 425
Come back to me, sweetheart, and love me as before 695 [cho.] ; 433
Come, darkies, listen to me, a story I relate 405D ; 269
Come listen now, me darling, lean your head upon my breast 706 ; 443
Come on, girls, and les' go home 485A ; 319
Come, thou fount of every blessing 562 ; 355
Coonshine, ladies, coonshine 738; 470
Darling, I have come to tell you 689, 700 ; 427, 437
David had a harp with a thousand strings 609(1) ; Zll
De racoon has a bushy tail 163A; 122
Did you eber heah tell of de nigger an' de bee 750 ; 478
Did you ever go a-fishing 94 ; 72
Didn't it rain, O Lawd, didn't it rain 564E; 357
Dis morning I gets up and puts on my Sunday clothes 739 ; 470
Doctor Jones is a great man, a great man, a great man 90 ; 70
Down at widow Johnson's the other night 740; 471
Down by de ribberside 566 ; 358
Down in the canebrake close by the mill 409B ; 272
Down on the levee, levee so low 281 B; 200
Down on this carpet you must kneel 514
Down under the hill 41 ; 40
Draw a bucket of water 533
Dry bones in the valley 757 ; 483
Early one morning in the month of July 2)77 \ 253
Florence ran through the weevily wheat 67B ; 51
Flummerly la lup, flu flu 546
Fly all around, my blue-eyed miss 286D ; 208
Fly around, my blue-eyed girl 286B ; 207
For seven long years I've been married 29A ; 29
Frog in the meadow 535
Frog went a-courtin', an' he did ride 120DD ; 91
Frog went a-courtin' and he did ride 120A, 120EE; 85, 92
Frog went a-courtin', he did ride, M-m, H-m (4)i2oD, (5)i2oE, (3)l2oL;
88, 89
From this valley they tell me you are going (3)26oA, 260B ; 185, 186
Georgie Buck, Georgie Buck (2)50oA; 324
Gimme oil in my lamp, keep shinin' and look down 758 ; 484
INDKX OF FIRST LINES 629
Girls, take warning, take warning from me 248C; 154
Git along 'Liza, poor little girl 437(1) [cho.] ; 293
Go away from me, Willie, and leave me alone 25oB(a), (4)2500 ; 158, 161
Go in and out the window 76, 55, 524
Go round the mountain, two by two 531
Go tell Aunt Patsy 128; 106
Go 'way from me, Willie, and let me alone 25oB(b) ; 159
God knows that I'm goin' to ride in Pharoah's chariot 591 ; 371
Goin' down the railroad 537
Goin' down to town 415J ; 279
Goin' 'round the mountain, charming Betsy 256C, 256D ; 180, 181
Goin' to Heav'n by the light of the moon 569; 36a
Going down Cripple Creek 299C ; 214
Going down the road feeling bad 441 ; 297
Going up to Cripple Creek 299 B ; 214
Goodbye, Annie Darling 684 [cho.] ; 422
Goodbye, John 690 ; 428
Goodbye, little Bonnie, goodbye 284C ; 204
Goodbye, my Blue Bell 395 ; 264
Goodbye to the cracking of the pistols 776 ; 497
Good morrow, good morrow, good morrow, said she 13E; 15
Good news chariot's comin' 572, 362
Grandma Grunts said a curious thing 145; 113
Grandma has some very fine stock 125C; 105
Green gravel, green gravel ; our dress is so green 510
Green leaf, oh green leaf that grows on a vine 526
Green leaves, green leaves grow on the vine 526, 527
Green trees bending, green trees bending 514
Gwine 'round dis mountain 741 ; 472
Gwine to lay down my burden 566 ( i ) ; 359
Had an old shoe, had no heel 98; "jz
Hail the blest morn, see the great Mediator 763 ; 487
Have you any bread and wine 507
Hear that rumbling down under the ground 577A ; 364
Heaven is a beautiful place, I know 579A [cho.] ; 366
Hello, my little girl, which away, which away 212A; 137
Here comes three dukes a-riding 516
Here sits a lady in the dining room 510
Here we come, gathering nuts in May 521
Here we come with our dollies dear 96 ; 73
Here we go in a ring so straight 546
He's locked up in prison for . . . crime 735 ; 467
Hikin' down the main line 742; 473
Hog drivers, hog drivers, hog drivers we air 517
Hog drovers, hog drovers, do you come here 517
Hog drovers, hog drovers, hog drovers are we 520
Hog drovers, hog drovers, hog drovers we are 519
Hop light, ladies, yo' cake's all dough 85A ; 61
How I love them pretty yaller gals 744 ; 474
How old are you, my pretty little miss 286A ; 205
How wondrous are the changes since twenty years ago (2)335A; 233
Hung my bucket on de white folks' fence 475 : 314
630 INDEX OF FIRST LINES
Hus keep uh rollin' 614A; 380
Hushaby an' don't you cry 115 A; 82
I ain't a gonna work a no mo' 242; 152
I am a good old rebel 391 D ; 260
I am a bushwhacker 383 ; 256
I am growing old and feeble 702 ; 439
I am standing in the shoes of John 589 ; 371
I am waiting in the wildwood, Essie, dear 685 ; 423
I asked your Mommer for you 284B ; 203
I been a miner all of my life 240; 151
I been around the ben' 500C; 324
I bought me a chicken, and the chicken liked me 124F ; 103
I bought me a hen and the hen loved me 124B ; 102
I bought me a hen, the hen pleased me 124C; 103
I came to a place where a lone pilgrim lay 542A, 542A(i) ; 339
I came to the place where the lone pilgrim lay 542B ; 340
I came to this country in eighteen forty-nine 252C, 252D ; 169, 170
I come from Alabama with my banjo on my knee 408A ; 271
I do wonder is my mother on that train 586 [cho.] ; 369
I don't like ol' Satan 584A ; 368
I don't want no fifteen cents 86E ; 65
I got a gal, she lives in town 448 ; 299
I got a long, tall yaller gal 450B ; 301
I got a southern jack 239; 150
I got shoes, you got shoes 550A ; 345
I had a little cow and I milked her in the gourd 328 ; 229
I have a father and a mother 351 ; 246
I have a father in my native land 231 ; 145
I have a new sweetheart, I have, mamma 307C ; 217
I have a song I love to sing (3)551 ; 346
I have long since been learned 588 ; 370
I have traveled through life, I have seen many a thing 2"] ; 27
I hear the soft winds sighing 664 ; 408
I heard a mighty lumbering in the ground 577C ; 365
I heard a mighty rumblin' up in the sky 577B ; 365
I know a young man both bold and free 248H ; 156
I left my poor old father, and broke his command (4)28A; 28
I live for the good of my nation 32 ; 32
I love a peach pie and I love a tater puddin' 89B ; 69
I love coffee, I love tea 91D ; 71
I love sweet Willie, I do, mamma 307E ; 218
[I often think of childhood days] (2)683; 422
I once had a sweetheart, but now I have none 280A, 280C ; 198, 199
I once loved a young man as dear as my life 449(1) ; 300
I once stood under a lilac tree 714; 449
I once was a seaman stout and bold 367A ; 248
I married a wife, aha 19I ; 21
I put my right foot in 538
I really do believe it's for the sake of old times 332D ; 233
I rode unto my journey (2) 49 A; 43
I roved, I roved all winter night 258D ; 182
I, said the blackbird to the crow 156B; 118
INDEX OF FIRST LINES 63I
I saw a humble farmer 213; 138
I saw a man at early dawn 21 ; 25
I saw Uncle John come riding by 413A; 276
I shouldered up my gun, and I whistled to my dog 221 R(i), 221E; 141, 142
I tell you of a poor young man. who gaml)lcd night and day 659 ; 405
I used to live in the country 86F ; 65
I want some peas and I want some rice 539
I want to be somebody's darling 696 ; 434
I was born ten thousand years ago 426B ; 285
I went a-fishin' an' fished for shad (4)183; 129
I went down to my gul's house las' night 451 ; 302
I went down to town 322 ; 227
I went to see Miss Cindy 404D ; 268
I went to see Miss Lucy 547
I went to the animal fair 180; 128
I will give you a paper of pins 2A, 2B ; 5, 6
I wish I was an apple 46F ; 42
I wish I was a mole in the ground 173, 173(0 ; 125, 126
I wish my captain would go blind 244; 153
I wonder as I wander, out under the sky (2)600; 374
I won't marry a preacher 432; 290
I would ask of you, my darling 273A, 273A(i), 273C, 273E; 190. 191, 192. I93
I would not marry an old man (3)i7M, 17R; 18, 20
I'd rather be dead an' laid in de dirt 443 ; 297
If a steamship weighed ten thousand tons 151 ; 115
If amid the din of battle nobly you should fall 390D ; 259
If I could I really would (3)545D; 34i
If I could lay my head on yo' sweet breas' 743 ; 473
If I had a keg o' rum 109; 79
If I had a pretty little wife 745 i 474
If you don't believe I'm sinking, just look what a hole I'm in 447 A ; 298
If you meet a woman in the morning 446 ; 298
If you see that girl of mine 86C ; 63
I'll deck my brow with roses 691 ; 429
I'll fire dis trip an' I'll fire no mo' 222; 143
I'll give to you a little lap dog iH ; 5
I'll give to you a paper of pins lA; 3
I'll hang my harp on a willow tree 259B ; 183
I'll hang my harp on the willow tree 259B(i) [cho.] ; 184
I'll not marry a man that's rich 17H; 17
I'll not marry a man that's young 170; 19
I'll put my knapsack on my back 78G; 56
I'll think of him never, I'll be wild and gay 263C; 188
I'll twine mid the ringlets, the raving dark hair 263E; 188
I'll twine with these locks of raven hair 263A ; 187
I'm alone, all alone, and I feel I'm growing old 31 B [cho.] ; 32
I'm always putting pepper in my daddy's snuff box 734; 466
I'm as free a little bird as I can be 255G ; 177
I'm but a poor orphan, my fortune's been bad (2)25oA; 158
I'm Captain Jinks of the Horse Marines 84; 60
I'm determined to be an old maid 17L; 18
I'm goin' away tomorrow 376 A ; 253
I'm goin' back to Georgia 248G ; 156
6^2 INDEX OF FIRST LINES
I'm goin' to see Miss Jennie Ann Jones 508
I'm going down the Mobile line 746 ; 475
I'm going down South for to see my gal 462 ; 307
I'm going over Rocky Mountain (2)2786; 198
I'm going to cross the river Jordan 517B ; 329
I'm going to Georgia, I'm going to roam 248 B ; 154
I'm going to leave you now (2)258E; 183
I'm gwine 'way to Georgia 449; 299
I'm just a poor wayfaring stranger 771 ; 493
I'm just from the South for to tell you all the news 372; 250
I'm leaving on that New River train 103; 75
I'm my mamma's darlin' chile 107C; 77
I'm my mammy's youngest son 107A; 77
I'm troubled, I'm troubled 290A, (6)29oA(i), (3)29oA(2) ; 209, 210
In a cool shady nook by the side of a brook 276; 195
In a plea for mercy 774 ; 496
In came the owl with his head right white 152 A; 117
In old Kaintuck in the afternoon 41 3B ; 277
In the cool and shady woodland 719; 453
In the midnight dew, love (5)285; 205
I'se a little Alabama coon 116A; 83
I'se a-runnin' 748 ; 477
It ain't gwine ter rain, it ain't gwine ter rain 430A ; 289
It gives him the blues when they're crying for shoes 309B ; 221
It rains and it blows and it's cold stormy weather 527
It snows and it blows, and it's all sorts of weather 528
It takes a long, tall, slim black man 450C ; 301
It was good for my mother 640(1) ; 397
It was in a Western watering town 360A ; 247
It was in Judies land by God's Immortal hand 534; 335
It's a rough, rocky road 632B ; 391
It's all 'round the mountain, charming Betsy 256B ; 180
It's my little Bonnie Blue Eyes 284E ; 204
It's not my mother, nor my father 637A ; 395
I've a very sad pitiful story to tell you 233; 145
I've been hoodooed, I've been hoodooed 429 [cho.] ; 287
I've been workin' on de railroad 234A ; 147
I've bin to the 'Bama and I just got back 498; 322
I've got a gal in the Sourwood Mountains 25iA(i) ; 162
I've got a girl in Sourwood holler 251L; 165
I've got a girl in the Sourwood Mountain 251F; 164
I've got a girl in the Sourwood Mountains 251A; 162
I've got a new sweetheart (2)3071; 218
I've loved you always, yes I've been true 723 [cho.] ; 456
Jack o' diamonds, Jack o' diamonds, I know you of old 50C ; 44
Jack of diamonds, I know you, I know you of old 50B ; 44
Jesus born in Bethlehem 537 ; 337
Jesus, lover of my soul 347 ; 245
John Brown had a little Injun 136A; no
John, he baptized Jesus 604 ; 374
John Jasper was a man, as you all do understand 605A ; 375
John saw de hundred and forty-four thousand 539 ; 337
INDEX OF FIRST LINES 633
Johnny was a Baptist, O yes 540; 338
Johnson boys they went a-courtin' 338B, 338B(i) ; 237
Just down to tlie gate, dear mamma 319; 226
Just kick the dust over my coffin 40; 39
Katy, Katy, don't you want to marry 370 ; 249
Kind miss, I have a very fine ship 3B ; 7
Kind Sir, I see you've come again 3A ; 6
King William was King George's son 523
King William was King James's son 522
Lay down, boys, and take a little nap (3)329; 229
Lazy Mary, will you get up 509
Leila that's shoo my love 549
Let us chase the squirrel 512
Let's sing 672 ; 414
Like an owl in the desert 304; 216
Little fisli swim in the river TiZ ', 464
Little girl, little girl 551
Little Johnny Miller he worked at the mill 75C; 54
Little Sally Walker, sitting in a saucer 529
Little Sally Waters 530
London bridge is broken down 532
London bridge is falling dovra 532
Look up, look down that lonesome road 292B ; 210
Madam, I come here a-courting 525
Madam, I'll buy you a paper of pins lE; 4
Mammy in the kitchen a-cookin' pink beans 497 ; 322
Mary wore a golden chain 543B ; 341
Mary's mad and I am glad 546
Matthew, Mark, Luke and John 544
Me mither ran the boardin' house 781 ; 501
Mike and Jerry going down the main line 749 ; 477
Milk in the dairy nine days old Appendix 3 ; 96
Miss Mouse blushed and hung her head i2oB(i) ; 87
Miss Sue, Miss Sue 511
Mister frog went a-courting and he did ride 120B; 86
Moses smote the waters and the children they passed over 612; 379
My daddy drives a street-car and my brother drives a hack 507 ; 326
My dog did bark and I went to see 194E; 134
My darling little Pink, I once did think (2)780 ; 55
My foot's in the stirrup, my whip's in my hand 250H ; 161
My gal has gone and left me, my baby 438; 294
My grandfather had some very fine ducks 125D ; 106
My grandmother she, at the age of eighty-three 668; 411
My hair was black as ribbon 710; 446
My heart is broken, I'm in sorrow 267A ; 189
My heart is sad and I am lonely 267H ; 190
My heart now ever lonely 665 ; 409
My home's across the Smoky Mountains 278A ; 197
My little girl sat on a stool, sat on a stool, sat on a stool 81C; 58
My mammy don't love me, she won't buy me no shoes (2)313; 224
634 INDEX OF FIRST LINES
My mammy told me long years ago 316A ; 225
My mother brought an old man gC; 9
My name is Dinah 324B ; 228
My name is Elmer Page, boys, I came from Milford Center, Ohio town
(2)33iB; 231
My name is Santford Barnes 331 A; 230
My ole banjo hangin' on de wall 499B ; 323
My sweetheart's a kind little miss 697 ; 434
My time is swiftly rolling on 530 ; 334
My wife and I lived all alone 33 A ; 35
Napper went a-huntin' 123C; loi
'Neath the cool and shady woodland 718; 452
Needle's eye did supply 74 ; 54
Never liked the old Joe Clark 86D ; 64
Never mind, never mind, never mind 644C ; 400
Never mind your knapsack 382 ; 255
Never seen such a sight since I was born 784 ; 503
Nigger, nigger, nigger never die 541
Now, I'm a good old Rebel 391 B; 259
O bear me away on your snowy-white wing 760 ; 486
O birdie, I am tired now 675; 416
O come to me my Brother Green 393 A ; 261
O, down in the valley where I was told 549 ; 344
O, I'm goin' down town 415E [cho.] ; 279
O madam, I've both gold and silver 12; 11
O my lovin' mother, when the world's on fire 547B ; 343
O sisters, le's go down, le's go down, le's go down 553A, (4)553A(i) ; 348, 349
O 'tis sad to be parted from those that we love 713 ; 448
O, when I die, don't bury me deep 38F ; 39
[O when I was a little lad and so my mother told] (3)780; 500
O, where are you going, Sally Ann 673; 415
O, where have you been, Billy boy, Billy boy i2iA(2), 121B; 98, 99
Oats and beans and barley grow 514
O'er the distant prairie 717 ; 452
Off to the barroom he staggers 29A(i) [cho.] ; 31
Oh Adam was the first man that ever was invented 341 G; 240
Oh, bow and bow, put your arms around me 531
Oh Brother Green do come to me 393C; 261
Oh, brothers, won't you meet me 576 ; 363
Oh, Buffalo gals, won't you walk out tonight 81A ; 57
Oh, dat watermilyon, spilin' on de vine 454B ; 302
Oh, de bell keep a-tolling 614D ; 381
Oh, dear doctor, can you tell 540
Oh, dear, what can the matter be 122 A; 99
Oh, don't you see yon pretty little girl 283D ; 202
Oh, Edward you look so happy now 22A ; 25
Oh, fancy brings a thought to me 727 ; 459
Oh, fly 'round, you pretty little miss 286A(i) [cho.] ; 206
Oh for three long days and three long nights 346A ; 242
Oh, girls, dear girls 2480(1) ; 155
Oh, git on boa'd, little children 529C ; 334
INDKX OF FIRST LINES 63S
Oh
goodbye, babe, forever more 37B ; 37
Oh, I din' ka' how you share 'em 510; 326
Oh ! I had a good woman 751 ; 479
Oh, I wish I was a great big horse apple 46D ; 41
Oh, I'm climbin' up Jacob's ladder — don't you grieve after me 527A ; 333
Oh Johnny, Oh Johnny, Oh Johnny 122C; 100
Oh, kill-a me a chicken and-a bring-a me the wing, this-u mornin' 482; 318
Oh, Lord, if you don't believe I'm sinkin' 447B ; 299
Oh, my golden slippers am laid away 571 (i) ; 361
Oh, on top of old Smokey 253A(2) ; 171
Oh once I had a pretty little girl 670; 413
Oh, pretty Polly, don't you cry 70 ; 53
Oh, say don't you love me, Katy Kline 255D ; 177
Oh, sinner man, come on get your fill 6i6A(i) ; 382
Oh, Sinner, you'd better take heed to the Savior's word today 64 : 49
Oh, tell me sweet birds, is he thinking of me 295B ; 212
Oh, the captain came on deck 230; 144
Oil the noble Duke of York 99 ; 74
Oh, the tallest tree in Paradise 644D ; 401
Oh, when I was lost in the wilderness 755 ; 481
Oh! where have you been, Billy boy, Billy boy 121A ; 97
Oh, where shall I be when that last trumpet sounds 761 [cho.] ; 486
Oh, where'd you get your high topped shoes 301 B; 215
Oh, where'd you git yer licker 404A ; 267
Oh, who was as happy as I 711 ; 446
or Aunt Dinah, ho pee, ho pee 487(1) ; 320
or 'ister McClaggie 661 ; 406
Old Aunt Dinah behind the pine 430D ; 290
Old Aunt Dinah, ho pee, ho pee 487 ; 319
Old Bob Ridley, come blow your horn 194C; 132
Old Dan Tucker was a grand old sinner 82B ; 59
Old folks better up and git to bed 752 ; 480
Old Georgie Buck he died 50bB ; 324
Old Grimes is dead, that good old man 321A; 227
Old Joe Clark He killed his wife 86B, (2)86B(i) ; 62, 63
Old Jonah like a fool 346C; 243
Old Man Hippety Hop tuck my chile 508
Old McDonald had a farm 125A; 104
Old Noah got mad cause de rain kept a droppin' 564B ; 356
Old Rattler treed the other night 161G; 120
Old Satan wears a slippery shoe (2)624B ; 388
Old turkey buzzard 105B ; 76
Ole Johnson had an old grey mule, 512; 327
Ole Molly Hare, what you doin' there 167B ; 123
On a cold frosty mornin' when a nigger feels good 474B ; 313
On a dark and stormy night 20C ; 23
On a morning bright and clear 725 ; 457
On the banks of the Potomac, there's an army so grand 375B ; 252
On top of old Smokey 253A, 253A(i) ; 170, 171
On top of old Smoky 253A(3), 253A(4), 253C, 253D ; 172. 173
Once I had an old grey mare 175 ; 126
Once I lived in the country 86G ; 66
Once there was a man, his name was Simon Slick 513: 328
636 INDEX OF FIRST LINES
Once there was a travelling coon 428A ; 286
One day as I wandered I heard a complaining 312A ; 223
One day I was walking down Winchester Street 778 ; 499
One day while in a lonesome grove 305 ; 217
One morning, one morning, one morning in May 13A, i3A(i), 13C, 13D; 11,
12, 13, 14
One Sunday morning early 678; 418
Our fathers, our fathers, they'll be there 627; 389
Our hands are clasped the last forever 693 ; 430
Out in the cold I wander alone 25B ; 27
Over the river to get the wheat 521
Page's train runs so fast 104; 75
Peas in the pot, hoe-cake a-bakin' 547
Poor Johnny, poor Johnny, would you think it unkind 250E ; 160
Poor little turtle dove 249; 157
Poor or Laz'rus, poor as I 628; 390
Pore little Kitty Puss 108; 78
Possum sittin on a simmon tree 194B ; 131
Possum up a gum stump 543
Possum up de 'simmon tree 161 B; 119
Possum up the 'simmon tree 514B; 278
Preacher in the pulpit, Bible in his hand 342 ; 241
Pretty Saro, pretty Saro, I love you, I know 252B, 2S2B(i) ; 168, 169
Put on de skillet and put on de led 461G; 307
Raccoon up de tree 161E; 120
Raccoon wears a bushy tail 163B ; 122
Rain come wet me 490 ; 320
Ridin' of a goat and leadin' of a sheep 677; 417
Rig a jig jig and away we go [cho.] 529
Ring, O ring, O roses 536
River's up and still a-rising 326 ; 228
Roll down dem bales o' cotton 243; 152
Roll, Jordan, roll 631A [cho.] ; 390
Roll, roll under 548
Rough and thorny is the desert 767 ; 490
Round the house, skip to my Lou 520
Run here, doctor (huh) 246; 153
Run, nigger run or de paderole'll catch you 457^; 303
Run, Sallie, my gal 204; 136
Run your sow with a great long pole 221 D ; 142
Sad, oh sad, it is, my darling 705 [cho.] ; 442
Sally, Molly, Polly, O 209; 136
Sally went to preachin', she shouted and she squealed 458; 303
Satan's sad and I am glad 624E ; 388
Saturday night and Sunday, too 459; 304
Saw a crow a-flying low 114; 82
Scotland's burning, Scotland's burning 150; 115
See the farmer plow his ground 515
Send for the fiddle and send for the bow 310; 222
Seven long years I've been married (2)296; 31
INDEX OF FIRST LINES 637
Seven years a-boiling 203; 136
She gave me kisses one, kisses one 313 ; 224
Sheep shell corn by the rattle of his horn 196A; 135
She'll be coming 'round tlie mountain when she comes, when she comes 460 ;
305
She's a maiden bright and fair 704 ; 441
[She's a maiden sweet and fair] (2)703; 440
She's my yaller gal 406C ; 270
She's the old Ship of Zion when she comes 623D ; 386
Shoot that turkey buzzard 105A; 76
Shoot your dice and have your fun 51 ; 45
Shouldered up my gun and I whistled for my dog 221 B ; 140
Shout along and pray along, ye Heaven-bound soldiers 633 ; 392
Show me the way to go home 37C ; y]
Sister Mary she come weepin' 552 ; 347
Sitting in the corner sparking on a Sunday eve 721 ; 454
Soldier, soldier, won't you marry me "jQ, 7D ; 8, 9
Some folks say that a dummy can't run. Sugar Babe 435B ; 291
Some folks say that a nigger won't steal 423I ; 283
Some of dese days about twelve o'clock 349 ; 245
Some of these days and it won't be long 241B; 151
Somebody's knockin' at your door (2)635; 392
Somebody's tall and handsome 2756, (3)275C; 194
Soon as my foot struck Zion 636A, 636B ; 393, 394
Standin' on de street doin' no harm 503 ; 325
Stay a little longer and don't make a noise 427 ; 285
Steal away, rang tang doo-lay 548
Stick my head in a paper sack 463 ; 308
Susy licked the ladle 320 ; 226
Sweet bunch of daisies 726 ; 458
'Tain't gonna rain and 'tain't gonna snow 430B ; 289
'Tain't my mother, 'tain't my brother 637B ; 396
Take me home, birdie, take me home 255H ; 178
Take me home, little birdie, take me home 255H(i) ; 179
Take me home, take me home, take me home (2)255A; 175
Take me home to my Mommer, Kitty Kline 255B ; 176
Take me home to the place where I first saw the light 400 ; 265
Tears from mine eyes are starting 666 ; 410
Tell me one thing, tell me truly (2)i4B, (2)146(1) ; 16
Tell me who's your true love 550
Tell me why, oh tell me truly 14D; 17
Tell my mother 765; 488
That's where my money goes 464 ; 309
The birds are returning their sweet notes of spring 295 A ; 211
The boys and girls I used to know went fishing in the brooks 729 ; 461
The boys dress up, and they try to look fine 337(i) ; 236
The creek's all muddy, the pond's all dry 341E; 239
The Engeley man he teal-a me 472A ; 312
The Englie man he 'teal me 472B ; 313
The farmer in the dell 535, 536
The fox marched forth one moonshiny night 129A ; 107
The jaybird and the sparrow went down in the field together 89E ; 70
638 INDEX OF FIRST LINES
The June-bug has the golden wings 477J ; 316
The lanky, Lucy Lister 782 ; 501
The little child was dying 756 ; 482
The little family that lived in Bethany 610B ; 378
The Lord he thought he'd make a man 523A ; 331
The miller, the miller that lives by the mill 522
The moon had climbed the highest hill 707 ; 444
The old Ship of Zion when she comes, when she comes 623A ; 383-384
The prettiest girl I ever saw 47 ; 42
The rabbit hipped, the rabbit hopped 92B ; 71
The raccoon is a cunning thing 162C; 121
The road is rocky, Lordy 762 ; 487
The stars shine bright 724 ; 456
The stormbird lives upon the rock 764 ; 488
The sun had set behind yon hill 88A, 88B ; 67-68
The watchman blows the trumpet loud 769; 491
The wind is from the East and the snow is from the North 236C ; 149
There was a dark and starless night 20B ; 23
There was a farmer had a dog 537
There was a man lived on Beaver's Creek 216; 138
There was a watermelon 465 ; 309
There was an old darkey, and his name was Uncle Ned 420A ; 280
There was an old woman all skin and bones 142A, 142B, 142F; in, 112
There was an old woman who had a little pig, mm-mm-mm 130B; 108
There's a green tree standing in Paradise 644A ; 399
There's a hole in the bottom of the sea 135 ; 109
There's a hole in the bucket, Elizah, Elizah 731 ; 462
There's a lily white robe in Heaven fur me 607 ; yjl
There's a little logwood cabin way down in Tennessee 701 ; 438
There's a little wheel a-turning in my heart 641 ; 398
There's a mystic golden shore 728 ; 460
There's a place prepared by my Savior's side 766 ; 489
There's a wail from the islands of the sea 623C ; 385
They call me hanging Johnnie 779; 500
Three little niggers laying in the bed 461C; 305
'Tis the old Ship of Zion 623B ; 384
'Tis thee and not the roses, dear 712; 447
To the pines, to the pines, where the sun never shines 283C, 2830(1) [cho.]
201, 202
Too-hoo says de owl a-settin in de tree 156E; 118
Tooney, Tooney, my Tooney O 549
Train, train, train, train, run so fast 466; 310
'Twas [on a bright] Sunday morning 681 ; 420
'Twas on a dark and dreary night 20E ; 24
Two big niggers lying on the bed 461 D ; 306
Two little children, all so very small 28C ; 29
Two little fleas sat on a rock 192; 130
Two little niggers black as tar 467A; 311
Two long years have I been a-drivin' 747 ; 476
Two togedder ! An I wanter jine de Ban' (2)598; 373
Uncle Rat gave his consent, Mm, Mm 120CC; 91
I N D !•; X OF F 1 K S T LINES 639
Walkin' talkin' Jinger Blue 496; 321
Walking up and down one day 149; 114
Was you there when they went to Galilee 768; 491
Way back in heav'n don't you want to go 770 ; 492
Way down in the valley where the lilies first bloom 686; 424
Way down on the southside of Kirby 32(1) ; 33
Way down south, on the old Peedee 421 B; 282
Way down south where the niggers grow Appendix i, (2) Appendix 2; 94, 95
Way down yonder in Pasquotank 189; 130
Way down yonder in the lonesome valley (2)547A; 342
Way down yonder on Cedar Street 469; 311
Way over yonder behind the mountain 654 ; 403
We are climbing Jacob's ladder (2)536C, (2)5360(1) ; 336
We are marching on 647 ; 402
We have a new pig in the parlor 80C; 57
We wandered through the shadow of the pines, my love and I 694; 431
W' easel and the rat 172; 124
Well, a gimme dis ol' time religion 640; 397
We'll sail away to heaven like a feather in the wind 651 [cho.] ; 402
Well, the Good Book says that Cain killed Abel 557 ; 351
Went down to the rocks to hide my face 616A; 381
Went down town, didn't mean no harm 502 ; 325
Went ofif the track 236D ; 150
We're goin' to wind this ball 550
We're marching on to old Quebec 524
What is out in yon field 133 ; 108
What makes the wild cat wild, boys 679 ; 419
What makes you look so hearty now 22D ; 26
What shall we do with a drunken sailor 783 ; 502
What wondrous love is this TJZ ! 495
What you gwina do when the world's on fire 470; 312
What's old Satan grumblin' about 624A ; 387
When Adam was created he dwelt in Eden's shade 53 A, 53A(i) ; 46, 47
When first to this country a stranger I came 252A, 252A(i) ; 166, 167
When I go a-ridin' 437 ; 292
When I was a little boy 298; 213
When I was a young girl, a young girl, a young girl 513
When I was a young girl, young girl, young girl 10; 10
When I was single, oh ! then 19J ; 22
When I was young and in my prime 401 ; 266
When I was young and pretty 32(2) ; 34
When in death I calmly recline 772 ; 494
When Israel was in Egypt's land 570; 360
When this world is all on fire 547D ; 344
When young men go courting 337 ; 235
When you're far, far away from this valley 260G ; 186
When's our wedding goin' to be 120BB; 90
Where have you been, Billy boy, Billy boy i2iA(i) ; 97
Whet up your knives, call up your dogs 221 C; 141
While beauty and youth are in their full prime 667 ; 410
[Whiskey is the life of man] (2)785; 504
Who is my neighbor 60 ; 47
Who so full of fun and glee 147; 113
D00479270
lUHiUnUUiiii-iliiihliHliH^:^
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11